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BANJO &C GUITAR
MUSICAL CONTENTS
FLAXY CUNNINGHAM’S CAKE WALK, M. & G., . . Frey
BEN BOLT, Guitar Solo, Frey . . . .
A CREOLE’S DREAM, Banjo Solo, . Stuber ■ ■
BANJO SONG, “The Barber and Butcher,”
PAUL ENO’S MANDOLIN INSTRUCTOR (Continued), . Eno . . . ■
JACOBS’ GUITAR FINGERING (Continued), Jacobs ■ ■
IMPERIAL MAZOURKA, Banjo, Armstrong
GALOP, “The Bohemians,” Banjo, Heller . . .
HEROIC MARCH, Banjo, Armstrong
PAGES
9 - 10-11
12
IS
14-15
10-17
18-19
20-21
22-23
24
— ^^^PUBLISHED SIX TIMES A YEAH — -
S. S. STEtimST
J Cos. 221 and 223 Church Street, Philadelphia, Penna.
Lessons given at T, J. ARMSTRONG’S STUDIO, 1431 Chestnut Street,
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..The Guitar Soloist..
Composed and Arranged by
WALTER JACOBS
Price, $1.50 Bach Vol.
Vol. I. — Contains thirty-two Concert Solos for Guitar,
including Armstrong’s famous Love and Beauty Waltzes (orig-
inally for banjo), Massa’s in the Cold, Cold, Ground, etc.
Vol. II. — Contains Eighteen Duets (complete as solos,
however.) The second guitar parts are not simply accom-
paniments. The music in this volume is of a much easier
grade than that in Vol. i. Among the pieces in Vol. n. are
Over the Waves, Love’s Dreamland, In Old Madrid, etc., etc.
Carcassi's Method for the Guitar
Revised and Enlarged by WALTER JACOBS
. . Price, $1.50 . .
Has the complete original text with numerous selections
from Carulli , F. Sor, etc., and several fine solos arranged by
Walter Jacobs. 154 pages.
The Best Edition on the Market.
Jacobs’ Banjo Studies for beginners are in 5 books
Each, 40 cts.
Sample Set to Teachers,. 75 cts.
Send for my catalogue of over too publications for Mandolin,
Banjo and Guitar.
WALTER JACOBS
Music Publisher
169 Tremont St., Boston, Mass.
JUST OUT
“A Breeze from Alabama.”
A Banjo Solo, with beautiful obligato accompani-
ment, as 2nd banjo part. Price 30 cts. Very pretty,
catchy, and not difficult ; on Darkie’s Dream idea.
Mr. Farland played the “ BREEZE ” while in the j
author’s studio and pronounced it one of the best
easy pieces ever written for banjo, and predicts an
unusually large sale for it. Address all OTdeis to
D. ACKER,
50 Laning Building, Wilkes-Barre, Pa.
THIS TRADE-MARK used by S. S. STEWART,
and Stamped upon the S. S. Stewart Banjos, is registered at
the U. S. Patent Office. BE SURE, when you purchase a
STEWART BANJO, that it has this trade-mark upon it.
Be sure to write for S. S. Stewart’s Illus-
trated! Banjo Catalogue. The most complete
book of the kind published.
S. S. STEWART’S
AMERICAN BANJO SCHOOL,
In two parts. Part 1st, by mail, $1.13; Part 2d, by
mail, $1.08. Both parts bound in board cover, $2,76
by mail.
These prices are net. Every banjo student should
have a copy of Part 1st, which contains a vast amount
of information.
Address, S. S. STEWART,
PUBLISHER,
221 and 223 Church Street, Philadelphia.
BARJO AND GUITAR TEACHERS.
Cards of teachers (2 lines), will be inserted in this department
at $1.00 per year; payable in advance.
A BT, VALENTINE, Mandolin, Guitar, Banjo,
2 44 5th Avenue, Pittsburg, Pa.
A CKER, DANIEL, Banjo and Guitar,
so La n nine: Buildin
50 Lanning Building, Wilkes-Barre, Pa.
A rmstrong, t. j., Banj.
1431 Chi
431 Chestnut Street, Philadelphia, Pa.
A USTIN, GEO. ANSEL, Banjo, Guitar and Mandolin,
9 Warren Street, New Haven, Conn.
B ERTHOLDT, CHAS. C., Banjo and Mandolin,
No. 2847 Lucas Avenue, St. Louis, Mo.
C OLE, LOUIS N., Banjo,
Studio, 12 Jackson Street, Lake Wood, R. I.
C ONKLIN, CHAS. E , Teacher and Dealer Banjo, Guitar,
etc. Roslyn, N. Y.
C UTILLO, PROF. B., Mandolin, Guitar, Violin, Banjo
and Piano 608 South Ninth Street, Philadelphia, Pa,
D ELANE, MISS JESSIE, Banjo, Guitar and Mandolin,
8 East 57th Street, New York City.
D ERBES, MISS A., Banjo, Mandolin, Piano and Guitar,
1608 Dumaine Street, New Orleans, La.
D EVEREUX, ROBERT W., Banjo, Guitar, Mandolin,
Violoncello, Double Bass, Slide Trombone, .
3134 Euclid Avenue, Philadelphia.
D REGER, OTTO, Mandolin, Banjo and Guitar Studio,
876 Bucknell St., 24th and Poplar, Philadelphia, Pa.
D UFOUR, MRS. J. M., Banjo, _ _
1203 T Street, Washington, D. C.
D URHAM, SAMUEL, Banjo, Mandolin, Guitar,
31 Maplewood Ave., Germantown, Phila., Pa.
E NO, PAUL, Banjo, , , , , .
1016 Chestnut Street, Philadelphia.
Soloist, Composer, Arranger and Teacher.
F arland, a. a,. Banjo, , _
124 W . 35th Street, New York City, N. \ .
F ISCHER BROTHERS, Banjo, Mandolin, Guitar and
Concertina, 131 Gage Street, Cincinnati, Ohio.
F LETCHER, WM. F,, Banjo, Mandolin and Guitar,
63 Lafayette Street, Tiffin, Ohio.
F OLWELL, JOHN C., Banjo, Guitar and Violin,
324 Elm Street, Camden, N. J.
fREY, E. H., Violin, Guitar, Banjo and Mandolin,
404*4 N. Main Street, Lima, Ohio.
G
ELLENBECK, GEO. F., Banjoist and Teacher,
Omaha, Nebraska.
G OWAN, HYDE, Banjo Teacher, Soloist,
302 Cordova Street, Vancouver, B. C
G REGORY, GEO. W., Banjo
1147
1 ARDING, MRS. S. HELENA, Banjo,' Guitar and Man-
dolin, Jamestown, New York.
J ELLER, M. RUDY, Banjo,
T 232 North Ninth Street, Philadelphia, Pa.
i ENDERSON, EDW. J., Banjo, Mandolin and Guitar
Kappel Building, 534 Smithfield St., Pittsburg, Pa.
I EWARD, MEREDITH, Banjo Teacher and Performer,
l 2278 St. Catharine Street, Montreal, Can.
TUNTLEY/W. A., Banjo Studio, „ « T
1 114 Broad Street, Providence, R. I.
J
EFFERY, MISS CLARIBEL, Banjo, Mandolin & Guitar,
631 Broad Street, Newark, N. J.
JENNINGS, J. H„ Banjo, Mandolin and Guitar,
J 486 Fountain Street, Providence, R. J
47 Broadway, New York City.
J ACOBS, WALTER, Guitar, Banjo and Mandolin,
169 Tremont Street, Boston, Mass.
TZ" QL AN DER, M., Banjo, Guitar, Mandolin, .
209 Powell Street, San Francisco, Cal.
L ANSING, G. L., Banjo and Mandolin, _
1 71 A Tremont, Boston, Mass.
L E VALLEY, H. E., Banjo, Mandolin and Guitar,
4 Greene Street, Providence, R. I.
J^EWIS, C. S., Banjo,
56 Janies Street, Auburn, Me.
L YNCH, DOMINGA I., Guitar, _
1432 Pine Street, Philadelphia, Pa.
M ATTISON, C. S., Mandolin, Banjo andGuitarj _
Cor. of 5th and Avenue B, San Antonio, Texas.
M ORROW, FRANK S., Banjo, Mandolin and Guitar,
1 13 South Street, Harrisburg, Pa.
M ARTIN, L., Guitar, Banjo, and Mandolin,
1025 Arch Street, Philadelphia.
M AGEZ, IDA LEE, Piano, Violin, Banjo, Guitar, Mandolin
and Zither Studio,
212 N. Charles Street, Baltimore, Md,
M OREY, G. T., Banjo and Mandolin,
226 S. Sorine: Strt
226 S. Spring Street, Los Angeles, Cal.
N ICHOLS, T. H., Banjo, Mandolin, Guitar,
322 S Salina Street. S
332 S Salina Street, Syracuse, N. Y,
N EWTON, P. W., Banjo, Guitar and Mandolin,
143 Yonge Street, Toronto, Canada.
O
SSMAN, VESS- U., Banjo,
21 West 125th Street, New York Citj^
P RITCHARD, E., Banjo, Mandolin and Guitar,
924 6th Avenue, New York City.
R ICHARDS, E. B., Banjo, Mandolin and Guitar,
20 7th Street, Fon du Lac, Wis,
R OW DEN, CLAUDE C., Banjo, Mandolin and Guita r
Studio, N. W. Cor. Michigan Ave. & 22d St., Chicago, 111 .
S CHMIDT, A. FLORENCE, Guitar and Piano,
1317 Green Street, Philadelphia, Pa.
S ULLIVAN, WILLIAM, Violin, Banjo, Guitar & Mandolin,
38 Aylmer Street, Montreal, Canada.
S TAHL, WM. C., Banjo and Guitar,
803 Main Street, St. Joseph, Mo.
S TENT, W. J., Banjo Studio
in Hunter Street
iq* Hunter Street, Sydney, N.S.W., Australia
S ECOR, EDITH E., Banjo and Xylophone,
9 Ingham Avenue, Bayonne, N. J.
S IMPSON, FRANK, Jr., Banjo Teacher,
69 Sauchiehall Street, Glasgow, Scotland.
S TANNARD, GEORGE, Banjo, Guitar and Mandolin,
24 West Lafayette Street, Trenton, N. J.
S TRATTON, W. E., Banjo, Mandolin and Guitar,
Room 40, P. O. Block, Lowell, Mass.
T URNER, FRE D. L., Banjo, Mandolin and Guitar,
25 W. 4th Street, Dayton, Ohio.
VOLLMAR, JACOB, Banjo and Guitar,
V 49 (jon key Avenue, Rochester, N . Y .
W ESTBROOK, DANIEL P., Banjo, Mandolin and
Guitar 89 Fra oka u Street, Port Jervis, New
York.
Subscription Price, Fifty Cents a year in advance. Published six times yearly by S. S. STEWART, 223 Church. Street, Philadelphia, Pa.
Vol. XIV. No. 1. Whole No. 99. April and May, 1897
PRICE, TEN GENTS
“ ORDINARY CONVERSATION ”
BY
Busily engaged at my desk, checking over
the correspondence of the day, the door
suddenly opens and in comes a rather fine
looking fellow, with the salutation, “ How
are you Stewart ; it has been some time since
I saw you last, and I made up my mind not
to leave town without running in.”
Looking up from my work, I was, for a
moment, uncertain as to the voice and
appearance of the stranger, but upon a sec-
ond glance, saw that I was addressed by an
old acquaintance in the person of J. H.
Longaker, whom I had not had the pleasure
of meeting for some time.
Of course, the first question he asked me
was, “How is business ? M This is what
everyone in business first asks; it having
become a habit with them to ask, a habit
growing out of the hard and soft shell times
we have been having for a few years past.
“ Can’t complain,” I replied, “all things
being considered.”
“Well 1 who wants you to complain,” was
the rejoinder; “I’m glad to see you in such
a busy-looking condition, and with such a
cheerful aspect. It looks around here surely
as though you were sending out lots of
banjos. I was over at the great Bourse
Building, and seeing your handsome case of
banjos on exhibition, and not being far away
from here, I just stopped around to have a
look at you. How has the banjo business
kept up, these dull times, of the past three
or four years?”
“With plenty of hard work and never-
ceasing attention to business,” I replied,
“ we have kept the works going. They are
doing some careful study on the banjo now
adays, and there are players and clubs, right
here in Philadelphia, who have far surpassed
what was done on the banjo by the best
professional performers — say, only ten years
ago. Indeed, it would be a surprise and a
revelation to many if they could see and
hear the work that is being done on the
banjo to-day.”
“Then you do not seem to think that the
banjo has reached its limit.”
“ No indeed ! the idea is absurd ; the
banjo has scarcely any more than began to
become known ; we have still, right here in
this city, plenty of people who have yet to
form the acquaintance of a banjo, and to listen
to one played upon. This is a fact, notwith-
standing all the good players and well-drilled
banjo clubs we have in Philadelphia.”
“Yes, I guess what you say is correct,”
remarked my frienrj; “I know that I hear a
good deal about Stewart Banjos in different
parts of the country ; and a friend of mine,
away off in New Zealand, wrote me a few
weeks ago, that they had the Stewart Banjo
out there, and had gotten them from Mel-
bourne and Sydney, so I guess the banjo is
spreading around pretty well.”
“Yes, they have their American Banjo
Clubs, in Sydney, N. S. W., as well as in
Melbourne, and other Australian points, and
there are one or two clubs in Auckland, New
Zealand. England and Scotland, too, have
numerous banjo clubs, but of late the British
have taken up with what they term a Zither
Banjo ; it is a closed-back affair, very much
like the old time Henry C. Dobson closed-
back banjo of the last generation, but with
the addition of wire strings. They pick the
wires with their nails, and of course the tone
is rather different from the American Stand-
ard Banjo, the recognized banjo here.”
“ So the old Dob. has come around again,
has it ? Well that surprises me. I remember
a few years ago that the pawnshop windows
here had a good representation of them, but
I wondered what in the deuce had become
of them.”
“ You know it requires all sorts of things
to make up a world, and when a certain
thing is quite played out, or forgotten in one
place, it may spring up again somewhere
else, and for the time being be hailed as an
entirely new thing ; that's the way it seems
to have been with the Closed-back Dob.,
now called the English Zither 'Jo.
“ Not long ago a correspondent, away off
in Australia, wrote me of a man who had a
solid steel banjo, all steel or iron — rim, head
and all — including the strings. He had a
pistol attached to the neck, to work with a
lever ; this he loaded with blank cartridges,
and his principal selection was the Ta-ra-ra
Bom-de~a. When he came to the Bom , he
| pulled the lever and off went the pistol.
! Quite a novel scheme, wasn't it ? ”
“Yes, I think it was a novelty, but such
crazy things are not intended to do the banjo
any good; and it is well that this soul-
inspiring genius did not bring his bom.
banjo to America.”
“ Quite in contrast with this, is the mar-
velous musical work being done by A. A.
Farland with the banjo. Then too, we had
the boy banjoist, Master Fred. Stuber, to
play at the exhibition department of the
Bourse, here, about the first of the year ; he
showed himself to possess a remarkable ex-
ecution, and an excellent nerve. His rendi-
tion of Haydn’s Gipsey Rondo , with piano
accompaniment, was remarkably fine.
“ Of course, my main purpose in having
young Stuber at the Bourse at that time, was
to introduce the banjo to the people, who
flocked there, and might not hear the banjo
anywhere else. I found many among them
who were delighted, and would stand there
for hours at a time, and who had never before
heard a banjo, at least never such music as
this.
“It is not an easy thing to get the mass of
people familiarized with the banjo, but it is
worthy of the time and labor, because in
time to come there will be a large field for
the banjo business, as it will be the instru-
ment of the people, and is adapted to very
many combinations, equally applicable to
the use of ladies as to men. At present, it
* is, generally speaking, not much more than
out of its infancy.”
My friend here declared himself much
interested, and inquired whether banjos had
met with a falling off in sales since the
introduction of the mandolin.
“This,” I replied, “may be, to some
extent; but the mandolin and guitar have
been, on the other hand, assisted into popu-
lar favor very much by the banjo. When
the banjo became popular years ago, some
people thought the guitar would go out, but
such proved not to be the case, as the banjo
club gave the guitar a fresh start, and the
sale of guitars has grown with the sale of
banjos; and the same may be said of the
mandolin. The three instruments work so
well hand in hand, that one cannot hurt the
other.
“ Perhaps, when some one has been listen-
ing to a fine mandolin player, he may
2
S. S. STEWARTS BANJO AND GUITAR JOURNAL.
declare that he don’t care for the banjo ^ny
more ; and the same perhaps on listening to
a good guitarist. Soon after this, he hap-
pens to hear Farland play the banjo, and
then he is all banjo again ; for the banjo in
Farland’s hands becomes a marvelously de-
lightful musical instrument. Perhaps some
one hears a squeaky violin in the hands of
some scraper, and thinks it is not a musical
instrument. Of course, he must change his
opinion upon hearing the same instrument
in the hands of a violinist . Just so is it with
everything : conditions and circumstances
alter cases.”
“ Yes, I guess your’e right as to that. If
no one heard a good violin player, interest
in that noble instrument would die out, and
if no one heard good piano playing, the
piano as a musical instrument would soon
sink into oblivion.”
“ How is Farlan.d doing now?”
“Farland has of late been meeting with
wonderful success ; his last trip took him into
forty or fifty towns and cities, and he has
received some very fine press reports and
criticisms. In many places he was not even
assisted by a piano accompaniment, but he
gave the entire recital by himself ; some of
these were in theatres and public halls, and
others were held in the parlors of private
houses and hotels. He is, and has been, doing
a wonderfully effective work with the banjo.
Many are the letters I receive, stating that
the writers had never before thought it
possible that such soulful strains lay within
the range of a banjo. This, of course, is
bound to create more favorable interest in
the banjo, and when we come to consider
how little really good banjo playing has
heretofore been done, so that the people
could become acquainted with it, we cannot
wonder that the past has been so barren
of the results of the present,
“It used to be that all the banjo playing
one could hear, was what little was done on .
the minstrel or variety stage. Now, put the
violin or harp in the same position, and see
how soon it would sink down to a level with
what the banjo has been.
“ Farland is a man of mature ideas, and
classical too ; although he is only about thirty
years of age. He does not approve even of
admitting the belief that the banjo was at
any time a ‘ negro instrument,’ although he
concedes the fact that the instrument was
introduced as it then was by the burnt-cork
minstrels, and in that way got the name of
being a negro instrument. I suppose you
have read A. Baur’s reminiscences ; how he,
years ago, joined the army, and went south
with the purpose in view of hunting up some
of the great negro manipulators of the banjo,
and how he never succeeded in finding a
solitary one.
“That is the story of the ‘ negro instru-
ment ’ all the way through; it is all on paper,
the expert negro banjo player is a myth;
the guitar is a much greater favorite with the
colored race than the banjo ever has been,
or ever will be. The negro theory, in fact,
is an exploded idea. There have been,
perhaps, two or three fine executants, and
perhaps musical geniuses on the banjo,
among whom I may mention the late Horace
Weston and the present James Bohee, now
in Europe ; but they were far behind Alfred
A. Farland, of to-day, and one might as
well single out the negro pianists, such as
Blind Tom , for instance, and attempt to set
up a negro theory for the piano, as to attempt
to establish such a theory for the banjo,
simply because there have been two or three
'good colored performers, and because the
instrument was used originally by bands of
imitation negroes. No, the banjo wants
better and more intelligent representation,
and it is now getting this under the guiding
hand and brain of a master, in the form of
Farland. No one need ever blush for having
attended a banjo concert, where Farland was
the star.
“ I am proud always to be able to introduce
a man like Farland to my friends, and they
soon find out that he is no graduate of con-
cert saloon, or beer shop, but an educated,
finished musician of the modern times.”
“ This conversation is certainly very pleas-
ing, and I am glad to see that in spite of the
late depressing and hard times, that you and
your banjo establishment are still hard at
work, the same as ever. It does me good in
more ways than one to see and hear of live
men , and convinces me that much that some
would deem impossible can be accomplished
by the right kind of well directed effort ;
but, is not such banjo playing as you describe
very difficult to acquire?”
“Yes, I may say that it is; but when we
consider again, the vast improvement I have
spoken of, and the many, to-day, who are
really fine performers, and compare this
result with what we had ten or twenty years
back, it is not difficult to arrive at the con-
clusion that with such progress for a very few
years more, the average must be far beyond
what we now have. As the average musical
ability and knowledge increases, there will, „
of course, be more and more of the excep-
tionally fine performers; but this result
would never be accomplished by sitting down
and allowing things to go on in the old way —
progress can only be accomplished by hard
work — one may swim up stream , if he works
hard enough, but anyone can float with the
current. ’ ’
“I sometimes notice in the papers, that
ladies are taking up the banjo, then again I
read that ladies in society are dropping it,
and taking up the mandolin, or the guitar,
or the harp; which is right?”
“ Truly speaking, all these reports are
correct. There are some society women
who make a practice of studying the banjo
and who have never become excellent play-
ers ; then there are others, without any
musical ability, who have taken up the banjo
because Mrs. So and So has done so ; one
succeeds in becoming a performer while
another fails. It is so in everything else ;
some succeed and others fail.
“ Then there are some who constantly jump
from one thing to another, and, like the
rolling stone, which gathers no moss, they
never make a success of any one thing. So
we have had those who having failed with
the banjo, have tried the mandolin or guitar,
and although there are some good performers
among them, the fact is, that they are few
and far between, and they do not very often
arrive at the dignity of being classed among
the musical artists. The fact is, that the
banjo does not want the assistance of fashion ,
but the aid of men like Farland who possess
the ability, as well as the energy, to show
what there is in the instrument. It is all
very well for a man or woman to think * how
nice that is, I guess I’ll take up the banjo.’
But on finding that it requires as much work
as a harp or piano, they get tired of the effort
and turn to something else. Such are not
the class of people who will ever lend a hand
to raise the status of banjo playing.
“ There are many, too, who like to amuse
themselves on one instrument or another,
and it is their privilege, of course, to do so.
With the banjo, often a good deal of pleasant
and harmless amusement and entertainment
can be had, and it may be that these people
get more solid enjoyment from their instru-
ments than they who spend hours of toil in
practice, with a view to becoming master of
the instrument. We, of course, supply in-
struments to each class of players, and do
not pretend to say how they shall be used,
although the specialty in the Stewart Banjo
runs towards filling the wants of the higher
class of performers.
“A man may own a $300 violin, and keep
it solely for the amusement it affords him to
play reels or jigs, on one or two evenings a
week, while another may aspire to the works
of the best masters, and get his amusement
by hard and laborious practice of several
hours daily, on scales and exercises. Pro-
gression is often all the most enduring
happiness.
“Just so it is with the banjo ; a player will
soon tire of his instrument unless he perceives
better things ahead, and aims to aspire to
reaching this goal. Truly, a poor life this
would be, if there was nothing beyond the
present to which to aspire; those who sit
down, smiling and contented with the pres-
ent, need not expect to suddenly be elevated
to something beyond the present, for it won’t
come.”
“ Speaking of contentment, Stewart, leads
me to think of your progress in the banjo
business. How long have you now been
here on Church Street? ”
“It has been something over ten years
since I moved down here to these buildings,
from my former location on Eighth Street.
At that time I had to move because I was
crowded out of the place I then occupied,
by lack of room to handle my goods.”
“Do you expect to remain here per-
manently ? ”
“Not by any means. For the past two
or three years I have turned the matter over
in my mind, and after some planning, so
much dreaded the job of another removal,
that it has been put off from time to time.
The last time I had almost made up my mind
to seek a new location, the matter was finally
adjusted by putting in* a larger boiler and
engine, in a better position and making the
attempt to remain here for a time longer.”
“ Then you think you’ll remain here? ”
“No, I can scarcely say that ; for it may
be that with the coming of another year, I
shall seek other quarters. There are many
things here which will have to be improved
upon. Running a large boiler and engine,
when at times we only operate one or two
3
S. S. STEWARTS BANJO AND GUITAR JOURNAL.
light machines, is an expense that my be
perhaps reduced. There now other systems
of power, such as electrical motors, for
instance, which may be operated at less
expense ; then again, our light here is poor,
often for a great part of the year necessi-
tating the working in the factory by gas
light, and this is not what it shouid be for
the finishing of fine banjos, pearl inlaying,
etc.”
“ Oh ! I see. Yes, I should think that you
were here laboring under difficulties.”
“That, however, is not the only thing to
be considered. Our buildings here are cut
up into eight rooms, which renders the hand*
ling of the goods and materials somewhat
bothersome and expensive. I have therefore
been thinking of finding, if possible, some
large rooms on the upper floors of a suitable
building, where all the machines and appli-
ances can be run under a much better light,
and with greater facility. This is the purpose
I have in mind at present, and I am liable
to work it out to a termination, as I have
stated, before another year rolls around.
But enough of that for the present.”
“I noticed a handsome showcase, with
some fine banjos, in the window of C. J.
Heppe & Son, in Piano Row, on Chestnut
Street, as I came down ; it made a fine show,
looked like the case of yours I saw in the
Bourse . * 9
“ Yes, it is the mate to the case I have in
the Bourse, and the two were used in
Chicago, in the World’s Fair, some time
ago.
“Some of those banjos required a long
time to manufacture, and are musically and
artistically, works of art.”
“How is that elaborate pearl inlay work
done? ”
“ The Japanese pearl shell is bought, just
as it is imported, in the rough; all the work
of cutting, sawing and filing is done here
in our factory, partly by hand and partly
by specially made machinery. The designs
are set into the wood by hand, which is a
costly, but at the same time the only proper
way of producing a truly correct and durable
piece of work. Fancy work of this character
does not lose its lustre, nor does it drop out
from use, but lasts for many years. Some
of the cheaper banjos are inlaid by a cheaper
process, and appear fancy to the eye, but,
of course, do not possess the durability of
the more expensive kind.”
“Does this pearl inlaying interfere at all
with the tone?”
“No, not if it is properly done. We
warrant the musical tone of each instrument,
and would not send out one that did not
stand the test in every particular.
“There may be, however, cheap imitations
of the genuine pearl work done, and such
instruments it is better to avoid. A truly
fine banjo, that is carved, chased and pearl
inlaid by our process, is something to be
proud of, and such instruments are usually
highly prized by their owners.
“ Thomas J. Armstrong, the Chestnut
Street teacher, has a showcase at his door,
lighted at night by electricity ; he had a neat
display of banjos therein lately, one a piccolo,
and another an $18.00 grade, No. 2. Some
people were looking at the display one even-
ing, when one of them remarked — ‘ See that
small banjo; that is pearl inlaid, genuine
work, but the other one is merely painted.’
The person was not correct, however, as the
$18.00 one was also inlaid, but of a cheaper
and less substantial kind of work. Few
persons understand anything about this kind
of work, you see.”
“ Are there not a good many more jobbers
and other musical instrument manufacturers,
now engaged in banjo, mandolin and guitar
making than a few years ago? ”
“ Yes, but that is all within the natural
and expected course of events. When some
one like myself, who has made the banjo a
study, almost from childhood, and who has
devoted much time and money to developing
the instrument, and written and published
many books and pamphlets upon the subject,
creates a demand for an instrument, others
will seek to make what they can out of it.
Many of these dealers care nothing at all
about a banjo, nor how it is made ; they go
at it simply as a matter of merchandise, like
selling a ton of coal. Such makers never
do anything towards elevating the status of
the instrument. An instance came to my
notice where a large instrument concern had
taken a Stewart Banjo to pieces, weighed
and measured all the parts, and then began
making banjos for themselves after the model
of the Stewart. But then there are so many
things to be learned, that can only come
from long study and experience, that it is
doubtful if anything can really be accom-
plished in this way.”
“Yes, and I suppose the banjo music
business, too, was not taken hold of by others
until after you had opened up the field for
that line of business.”
“That’s true, also; when I started the
banjo music publishing business, a few years
ago, no music worth mentioning was pub-
. lished for the banjo, and a player had to pay
high prices for having music written for his
use. At that time, the banjo was not ad-
vancing very rapid ily, and every player who
learned a new piece was very jealous of it,
and that is the reason there were so many
versions of one and the same piece of music ;
one player would take pleasure in giving it
to another with more or less mistakes con-
tained, so that f his version would be the
only correct one. ’
“ This petty and insignificant meanness
was often amusing, and I think the Journal ,
I began to publish some fifteen years ago,
Slewarf s Banjo and Guitar Journal , has
had a great deal to do with popularizing
music for the banjo and in establishing a
basis for it.”
Here my friend began to look at his watch
and to consult his train time-table, with a
view to making a train for the west, and
hence the remainder of this ordinary con-
versation is soon told.
“ Speaking of banjo clubs,” he remarked,
“puts me in mind, that you have some very
fine banjo concerts in this city; I wish I
could spare the time to be present at some
of them.”
“Yes, we have them here. The Hamilton
Club, The Drexel Institute Club, The
Carletons, The Pennsylvania University,
The Manheim, The Century Wheelmen, The
Quaker City Wheelmen, The Powelton,
The Y. M. C. A., and P. R. R. Branch of
the same, all have had concerts here lately,
and I might mention many others. In
Armstrong, Eno and Heller, we have hard-
working and painstaking teachers and organi-
zers of banjo clubs; and with much good
material in this city, and the interest taken
by one and all, it is not to be wondered at,
that this city is becoming noted for its fine
banjo, mandolin and guitar organizations.”
“I’m glad to know this, and wish it was
so that I could swing around and live here
for a season, but this year, you see, I’m on
the road, handling iron, and have got to take
in over 200 towns before I get to Pittsburgh
for a few weeks rest.
“ I’m very glad to have seen you again,
and when I get in New York, where I expect
to be in a few weeks, I’ll make it a point to
call on Far land, if he is at home, and have
another talk on the banjo business.”
With this, my friend started for the Broad
Street Station.
Pointers on the Banjo.
In a recent interview, published in the New York
Music Trades , with the representative of a large
musical instrument making and jobbing house, the
said party is reported as having said :
“ The banjo is not the popular fad it was several
years ago, but still, considering the popularity of gui-
tars and mandolins, the demand is pretty fair. The
latter two instruments are about the same in popular-
ity, and as they are so commonly used together, it is
altogether unlikely their popularity will ever wane.
Several years ago there were but few mandolin and
guitar makers in this country, but now there are
many. There is a good demand for the better class
of goods, which shows that the average musician
is growing better acquainted with the instruments
than formerly, and also that musical taste has
changed.”
There are several inaccuracies in the foregoing
statement, which we will briefly point attention to.
It may be quite true that the banjo is not a “ fad,”
such as it was for a time, a few years ago, but
how much such a so-called “ fad ” could be a so-
called popularity is another matter. The advanced
banjoist of the day has much reason to feel relieved
and glad that this “ fad ” business has in a measure
passed away, and that the mandolin has shifted the
fad to its own shoulders, to the relief of the banjo.
It is nearly always the unexpected and unlooked for
which happens, and when the cheaply-made “ thirty-
eight- bracket ” banjo, was ‘ c fadding ” away at the
pawnbroker’s establishments, by the gross, the man-
dolin manufacturers, at that time, did not think that the
prices at which mandolins before long would be sold,
would figure at a price far below the cheapest among
the cheaply-made “tub ” banjos, and thus become
a dangerous rival to the cheap banjo ; but yet such is
the case, and although these manufacturers may talk
wisely about the great and increasing popularity
of the mandolin, the fact must stare them in the face
that the greater numbers of the mandolins they make
and sell in large quantities are of a kind that do not
reach far beyond twelve dollars per dozen in price.
Just how long it will be, under such circumstances,
before the mandolin “ fad ” has fadded itself to
death, one may easily conjecture.
Of course there will always be some high-priced
mandolins made and sold, however many of the
cheap ones may be made, but when you come to that
point, you will reach the same identical thing as
regards the banjo. There are, and always will be,
plenty of true lovers of the banjo left on this earth;
those who have studied the powers of the banjo; and
such as are to-day studying this instrument, and
developing more and more, and further and further,
the true and inherent musical beauties which are
found more and more to exist.
Neither one dollar fiddles (shingle fiddles) nor one
dollar and a quarter mandolins will prevent the sale
4
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
of a certain number of the finest violins and mando-
lins. One might as well start in, as more thm
one large firm has attempted, “ to grasp it all,” and
find it could, in the end, grasp nothing, as to suppose
that the reputable violin maker is going to be ruined
because such firm is flooding the country with one or
two dollar squeaky violins. Chromo pictures with
gaudy frames may suit the requirements of the cheap
buyer, whose lack of artistic taste may suit some such
market, but for all that, the artist of reputation will
still find sale for his work. Then again, we have had
years of frightfully depressed times ; from the day
after the election in 1892, this depression began to
manifest itself, and gradually the buyers of luxuries
and higher works of art began to curtail expenses
and to go without things that they would like
to have had, and this curtailment of expenses has
become so far reaching and universal that the makers
of high-class pianos, as well as most all else, have
suffered greatly. Can anyone wonder, under such
circumstances, that the banjo, the guitar and the
mandolin have suffered in a business way ?
And yet, with all these years of depression, there
has been, and is now, a steady sale for the high-grade
banjos of the reputable makers ; so that the cheaply-
made mandolins and guitars, have not won over the
lovers of the banjo, for we everywhere see the steady
progress that has been made in banjo playing, even
through these trying times.
*********
We do not have to go very much further back, not
only to see that time when few makers of mandolins
and guitars were known in this country, but also to
see the time when there were none worthy of men-
tioning, In fact, the popularity of the banjo, and the
very good work done by rising banjo teachers
and makers, is the very thing that put the mandolin
and guitar “ on their feet,” and led to the popularity
of these instruments with the public. When the
banjo got its best impulse, about the year 1880, the
guitar, instead of dying out, began to get a new lease
on life, and the introduction and popularity of this
instrument was not long following. Many who are
to-day large manufacturers of such were at that time
merely jobbers of such goods, and they evidently
have small data from which to gather statistics. We
are not aware that any of them spent long hours of
hard work in developing or attempting to improve
the instrument before the days of their popularity;
no, they waited until others, whose innate love for the
instruments led them, by hard work and persistent
application, to open the way for the success and pop-
ularity of the banjo, mandolin and kindred in-
struments ; it was then time to indeed pose as great
makers of the day. Now, it seems, that the banjo,
from which they had expected so much is “going
back on them.” What else could they expect ?
*********
A man like Farland, will have ever the honor, and
well deserved, too, of having brought the banjo to a
higher sphere. His playing need never be in fear of
the criticisms of the devotees of mandolin or guitar
players, nor have ever the latter-named instruments
any possible fear of becoming a rival to the banjo, in
such hands as Far land’s. All the prejudice on earth,
or in the other worlds either, for that matter, will
not suffice to remove from Farland the grand work,
and the credit that is due him for the work
which he has accomplished by reason of his natural
painstaking and talent in the sphere of the banjo.
“ Popular fads,” indeed ; no, we do not want more
of that brainless element associated with the banjo,
the instrument of such an artist as Farland. If one
must do the work, and another reap the harvest, it is
enough to know that such may be the case among
the jobbers, or those who make instruments at whole-
sale, and sell them as so much merchandise; but the
artist Farland, will live long in the musical genius
wi'h which his name is associated.
*********
A fine time it will be, too, in attempting to make
people believe that the banjo is on the decline, when
we now have such books as will begin to show the
musically inclined what a heretofore almost unknown
musical instrument the banjo was.
“Farland’s National School for the Banjo,’ ’“Greg-
ory’s Practical Fingering for the Banjo ” and K Stew-
art’s American Banjo School,” all having things
of importance to communicate to the banjo stu-
dent, and those interested, will assist in b inging
the banjo to a higher plane of usefulness than before.
Let us all, therefore, proceed with the banjo work,
and with the revival of “ better times ” we feel no
hesitation in declaring that such a u scientific banjo
boom ” as has never yet been witnessed, will be with
us before long.
Alfred A. Farland
A GREAT ARTIST ON THE BANJO.
A more consummate artist in banjo playing than the
affable and modest Farland, we feel safe in affirming,
does not exist. We may also go further than this and
state plainly that his equal can not be found. Having
carefully followed his career for the past four or five
years and noted the progress made by him — the
steady, upward progress — in the elevation of the
sphere of banjo mus'c, we feel assured that teachers
who have welcomed Farland to their towns and
cities, and been co-workers with him in giving con-
certs and musical entertainments, assisting him in
bringing the banjo before the musical classes, have
worked to the best advantage of themselves, their
business and the public.
Wherever Farland plays, an interest in the instru^
ment is at once awakened. No matter whether this
interest, thus awakened, is among those who had not
pre viously formed the acquaintance of the banjo, or
whether among such as had looked upon the instru-
ment as a musical toy, or only a crude “plantation
instrument,” the interest once having been awak-
ened must continue to grow, and must lead to
a better knowledge and understanding of the banjo,
and better appreciated efforts of the teacher.
No one feels much heart in the work of teaching
or playing, if his efforts fail to meet with appreciation
and do not receive proper encouragement. The work
done on the banjo by Farland is such as at once at-
tracts the admiration of people of musical instinct,
whether they be educated musicians or not. This
alone is a gain for the banjo.
Then Farland, too, is such a perfect gentleman, so
modest and pleasant in his manner and so finished in
his musical art, that one has not to converse with him
long to discover that he has formed the acquaintance
of a finished artist and a gentleman.
Quite recently this artist, on his way west and
south, on a conceit tour, dropped in upon the writer,
who could not but be astonished at the advancement
noticeable, even in the short space of time that
had intervened since he was last here. Violin and
piano selections, pieces of much intricacy and diffi-
culty, were rendered by this artist upon the banjo,
with the utmost ease, and had indeed the appearance
in their rendition of being £i as easy as rolling off a
log.” Then, too, Farland takes so much pains to
have his banjos strung up with good, true and perfect
strings, that all the harmonies and intervals are pro-
duced in perfect accord, and how different is this
to an attempt at rendering such music with strings
that are faulty, and when the delicate shading cannot
possibly be brought out as the composer intended.
Experienced players know fully well how diffi-
cult it is to secure such true strings, and how
much time must be consumed in the operation
of properly stringing the instrument fer such a per-
formance. All this has been dwelt upon in these col-
umns before this, but it is fitting to mention it again.
Farland deserves all the praise he can ever receive
for his work, arid we trust that he will in due time
receive the reward for his labors which he so justly
merits.
*******
Musicians of a higher class had their attention at-
tracted to the banjo in Farland’s hands, as never
before. All talk about 4< fads” and such non-
sense, passes harmlessly by when the banjo has
been heard in the hands of so consummate an artist as
this.
Some have said, “ They will not take the banjo
seriou*ly ; ” but the dignity of an artist like Farland,
soon discovers the fact that the banjo will be taken
seriously, and listened to by master musical minds,
when a serious and talented artist like this is
behind it.
An immense error has been entered into by such
as took up the banjo as a “ fashionable fad,” with a
mistaken idea that they had to deal with a simple
and easy instrument to master, and that all there was
in it could be gotten held of in a few weeks by any-
one who might come along. Then, when these
would-be players, with the fad fever, found there was
more science and art in the banjo than they had bar-
gained for, they made a good move, by giving it up
and trying something more within reach ot their
talents.
* * * * * * *
The banjo is quite an easy instrument to acquire a
few tunes and song accompaniments upon, and it is
also good to amuse one’s self with, but, like the violin
and piano, it has also higher abilities, and to master
these capabilities one must be prepared to study,
practice and work hard. Such powers as Farland
has with the bjnjo are not to be had for the mere
asking, nor are they to be acquired in a day, nor can
they be bought for a price without work.
The day will come, in the future, when the name
Alfred A. Farland will be handed down to posterity
as the greatest musician in his line this country has
ever known, if not in the world.
As time passes, those little jealousies which exist
more or less in the musical line, will be past and for-
gotten, and the name “Farland” will remain as a
bright and shining light.
*******
Even the best of men, whether they be among mu-
sicians, artists, authors or among other spheres of life,
are at times apt to be misunderstood. There are always
those who are incapable of understanding that which
is beyond them, and yet, speaking of Farland, grand
man that he is, his manner is so straightforward,
plain and simple, that one must needs be a dolt,
indeed, who fails to understand him, even though
failing to comprehend his music. Now, how anyone
in “this enlightened age” can fail to comprehend
the music rendered by Farland is a little curious, but
of course, there are some whose only comprehension
of musical sounds lies within the range of the Jews-
harp and a mouth organ, but such as these are not
component parts, we hope, of the audiences who as-
semble to listen to one of Farland’s recitals.
* * * * * * *
It is well to mention, perhaps, that in almost every
part of the country, Farland has brought together
select audiences to listen to his classical renditions on
the banjo, and that in many cases the people have
been so agreeably surprised and entertained, that
even after hearing from 14 to 18 numbers they would
ask for more.
Then, once in a while, just as a little “ diminished
seventh” must be stuck in between a pair of con-
cords, to prevent the harmony from becoming too
smoothly running, a little of the discordant element
must diop in, like the following instance:
* * * * * * *
Farland was once holding forth in a small town, at
one of his recitals, and this was attended by a
number of young ladies, boys and girls and others,
together with softie older heads. The more beau-
tifully Farland played, the louder became the conver-
sation among the audience. The artist was about to
begin the rendition of his most effective piece,
i( Cradle Song,” by Hauser, when he felt compelled
to stop, which was right he should have done.
Waiting patiently a few moments to give the au-
dience time to recover their gentlemanly politeness,
some one inquired what the difficulty was, and why
the music had been stopped. The artist thereupon
stated that the pianisshno rendition he was about to
perform, necessitated perfect quietness, and requested
S. S. STEWART*S BANJO AND GUITAR JOURNAL.
5
the audience to remain silent. After securing this,
Farland proceeded with h ; s remarkable performance.
After the entertainment had been concluded, some
one proceeded to congratulate the artist upon his fine
rendition of the “ Cradle Song ” (Weigenlied). What
was the surprise of the party to get a somewhat brief,
but fitting reply, for the artist said simply “ I’m glad
you heard it.”
*******
This was in a country town, of course, a place
where the manners of the people were, perhaps,
no better and no worse than in many of our large
cities, with the difference, perhaps, the city audiencts
in a musical recital are better drilled in common
politeness.
But in this instance it happened that the audience
did not notice anything wrong with themselves, but
saw only that something had displeased them. The
result was that the paper of the town reported that
Failand was afflicted with the big head.
*******
And yet a more refined and unassunrng man than
Farland it has neyer been our good fortune to meet,
nor one who possesses the musical grandeur he
is endowed with.
From the Aurora Daily News (Aurora, 111.) Feb.
ioth, ’97.
Farland’s music is a revelation. The audience forgets that
the man before them is playing a banjo. Under his touch the
instrument loses its sharp pang, twang, and responds with the
softest chords and harmonies as sweet and pure as a human
voice or the tones drawn with a bow by a master of the violin.
No one who has never heard him play can have the least concep-
tion of the exquisite music he brings forth from an instrument
that only a few years ago was neither understood nor ranked as a
musical instrument. In the rendition of selections from Haydn.
Chopin, Hauser, Handel, Giegh and Mendelssohn, his bril-
liancy of tone, technique and phrasing were simply marvellous.
It was, however, the varia ions on My Old Kentucky Home
that touched the heart strings of the audience, and took the
house by storm, and after the great rendition of the overture to
Wm. Tell, Farland was twice recalled.”
From the Saginaw Evening News (Mich.) Feb. 25.
“ A larjje, critical and appreciative audience assembled at
Smith Hall on Court Street last evening to hear Alfred A. Far-
land, the celebrated banjoist, who appeared in this city for the
second time, under the auspices of the Waldo Club. Mr. Far-
land is reputed to be the greatest banjo soloist in theworld, and
no one who heard him last night doubts the statement. He is
a master of the banjo, which is thought by some as an inferior
instrument, and unaer his marvellous touch such ideas are soon
dispelled. With perfect ease and grace he interprets the most
classical and difficult selections, holding the closest attention tf
his hearers.
The program last evening included such selections as would
appeal to both those who are cultivai ed in music and those who
love it but have not had the advantages of a musical education.
'1 he program included the following selections by Mr. Far-
land :
Beethoven — Sonata for piano and banjo, Op. 30 No. 3. Ori-
ginal for piano and violin, a. Allegro Assai ; b, Modera o; c,
Allegro Vivace.
Hauser — Wiegetlied, (Cradle Song )
Haydn ^-Gypsy Rondo.
Farland — Variations on My Old Kentucky Home.
Chopin — Polonaise, Op. 40, No. 1.
Schubert — Serenade.
Rosinni — Allegro vivace from the overture to Wm. Tell.
Popper — Tarantelle.
Yradier — La Paloma.
Paderewski — M nut a I’Antique.
Verdi — Selections from II Trovatore.
Farland — Variations on Auld Lang Syne.
Chopin — Nocturne, Op. 9, No. 2.
Mendelssohn — Allegro Molto vivace from' Concerto, Op. 64.
Mr. Farland will always be extended a hearty welcome by
the music lovers of this city."
From the Nashville American.
“ It would tax the English vocabulary to say too much
in praise of the recital given by A. A. Farland at Watkins Hall
last night. It was his first appearance in Nashville, and it is
safe to say that a more agreeably surprised audience never
gathered in this city.
No one who has not heard Mr. Farland play the banjo
knows the capabilities of the instrument. Musicians might
think him over ambitious in attempting such a programme as
he gave last night on an instrument that has been but a short
time recognized as anything but a musical toy, but he undoubt-
edly proved many things for the banjo in his renderings
of numbers that covered such a range of required possibilities
as the William Tell overture, Chopin nocturne, Schubert sere-
nade, Allegro molto vivace, from Mendelssohn concerto and
other numbers which made up the programme. Each was
a surprise, and the attention given him throughout by a large
audience in which the musical element of Nashville predomi-
nated, was a compliment which is paid only to artists. Mr.
Farlai d is anea*y, graceful performer, with a technique that is
simply wonderful. But one is not so much impressed with his
execution as with the delicate and artistic rendering, combined
with an interpretation that has won for him the undisputed
title of the world's greatest banjoist.
There is about his playing a warmth of feeling that makes
one forget the instrument. It becomes almost a part of himself.
Mr. Farland has done more than any other to put the banjo
where it now stands. His methods are accepted and taught
wherever the banjo ’S tanght and played, and to him undenia-
bly belongs the praise for making for America's only national
instrument a popularity that has spread throughout the civil-
ized world.
To complete the pleasure and artistic success of the evening
Prof. LeBarge’s mandolin and guitar orchestra, during an in-
termission in the programme, rendered three selections with a
wealth of haimony and finish that won the spontaneous ap-
plause of the cultured and critical listeners This orches ra
consisted of fifty people trained by Professor LeBarge, who led
them last night. It was possibly the largest aggregation of
performers on these instruments ever gotten together in Nash-
ville and their work was a revelation in its beauty. The selec-
tions played were by Prof. LeBarge, * Showers of Roses/
Gavotte, Amorita Waltz and * Tally-Ho Two-Step. ' "
From the. Louisville Courier Journal.
“ The several hundred people who went to the Auditorium
last night entered the building with a certain degree of misgiv-
ing. They read on the programme that the Largo of Handel,
the William Tell overture and the Brahms Hungarian Dance
would tinkle from the strings of the banjo. When these several
hundred people issued from the portals of the play-house they
were ainply convinced that these classics had found a capable
expression from this, the most unresponsive of all instruments.
Had the time of musical wonders not already ceased, it might
have come to an end with the triumph of Farland. The ability
of this artist is, fortunately, well known to the musical public
of Louisville, and when it is said that his efforts last night were
thoroughly in accord with those of last season, it is in itself
sufficient tribute. Farland’s technique is amazing. The harsh,
unsympathetic twang of the cold instrument vanishes, and in
its stead there flows a clear, rippling music.’*
From the New Haven Evening Union.
“It was unfortunate that Mr. Alfred A. Farland could not
have had a pleasanter evening for his delightful banjo recital
last night at Harmonie Hall. Music lovers who were unable to
attend missed a great deal. Mr. Farland is an artist. His
p aying of the banjo, which even after it has proven his ability
to do more, is looked upon by many as a nice instrument upon
which to strum accompaniments to plantation melodies, was a
revelation. Mr. Farland confines himself by no means to the
popular marches of the day, but delves deep into the classics
for his music. For instance, he p'ayed, and played delight-
fully, too, the Chopin nocturne, Op. 9, No. 2, the Mendelssohn
concerto, Op. 64 and the Handel Largo, none of which can be
classed as popular or frothy. He also played ** My Old Ken-
tucky Home/* with variations, which never receives anything
like its proper interpretation except on the banjo, and “ Auld
Lang Syne " with variations
Mr. George Ansel Austin, to whom thanks must be given for
Mr. Farlaad’s appearance, played once with Mr. Farland, giv-
ing a gavotte by Popper. Assisting in the concert was Edward
A. Leopold and the Pizzicati Banjo Club. The playing of
the club, particularly in ‘‘The Patrol of the Scissors Grinder'’
is warmly to be commended. Mr. Leopold sang well. He has
a deep bass voice with a richness of qualiiy and his work evi-
dences study. The “ Bedouin Love Song," by Buck wjs the
best of his solos, and “ My Love From Burgundy,” sung with
the club, was charmingly given."
From the New Haven Evening Register.
“A delightful musical treat was accorded local lovers of
banjo music last night at Harmonie Hall, when the world's
champion banjoist, Alfred A. Farland, gave a recital to a
crowded house, under the auspices of George Austin, of
this city. Mr, Farland was at his best, and his wonderful work
won him a rousing reception. Everything was encored, the
overture to William Tell and the nocturne from Chopin taking
the house by storm.
The gavotte by Messrs. Farland and Austin was cordially
received and the selections by the Pizzicati Banjo Club showed
careful training and excellent execution by the members of the
club, all of whom are New Haven boys. E. A. Leopold,
a new basso, made his debut to the musical world. He has a
voice of truly sympathetic quality. He rendered three solos.
Miss Alice F. Smith, of West Haven, who recently returned
from a successful three-years’ course in German university
music-study, was the accompanist of the evening."
Among the places visited in Mr. Farland’s latest
concert route were the following, in all of which he
met with success :
Dorchester, Mass, ; Montpelier, Vt. ; Ogdensburg,
N. Y,; Geneva, N. Y.; Holley, N. Y.; Warsaw, N.
Y.; Ridgway, Pa ; Punxsutawney, Pa.; Tiffin, O.f
Sterling, 111.; Plainfield, 111. ; Aurora, 111. ; Manito-
woc, Wis.; Newport, Ind.; Indianapolis, Ind.; New
Harmony, Ind.; Poseyville, Ind.; Mt. Vernon, Ind ;
Nashville, Tenn. ; Louisville, Ky. ; Vassar, Mich.;
Saginaw, Mich; Newburg, N. Y. ; New York City,
N Y.; New Haven, Conn.; Passaic, N. J. ; H?zle-
ton, Pa. ; Malone, N. Y.
*******
Mr. Failand expects to play again in New Y* rk
City, at the Berkley Lyceum, about April 21 ; thence
South and West to Virginia and through Pennsylva-
nia and Ohio, Michigan, Illinois, Indiana, Tennessee
and back into Illinois, Wisconsin, Minnesota, Iowa,
Nebraska, Colorado, playing return dates in many of
the cities in the foregoing list.
Western correspondents are advised to write for
dates in May and June, without loss of time. Mr.
Farland’s address is 124 West 35th Street, New York
City.
The Hamilton Banjo Club.
The above-named club gave its Ninth Annual
Concert in Philadelphia, at the beautiful new Horti-
cultural Hall, Broad and Locust Streets, on Thurs-
day evening, February i8th, to a very laige and ap-
preciative audience. The work of both the Hami’ton
Banjo, and Mandolin and Guitar Clubs, shows great
improvement during the past few years, and as the
boys say, it is “ Progress,” with a big P.
Paul Eno, as conductor, deserves a vast deal
of credit.
Truly is Philadelphia a city of banjo clubs.
The following is the programme :
PART I
/ (0) March — “ El Capitan ” Sousa
( [ 6 ) Patrol — ‘‘The Colored Band” .... Eno
Hamilton Banjo Club
2 Soprano Solo — “ Nymphs and Fauns” . Be mb erg
Mme. Emme Suelke
3 Two Dances
(a) tl Toreador” ...... Eno
(1 b ) “ Fin de Siecle ”... Hogue
Hamilton Mandolin Club
4 Baritone Solo — “ The Vagabond” . . . Molloy
Mr. T. Cushing Jones
5 Selection — ( From Gounod’s “Faust”)arr. Barclay
. Hamilton Banjo Club
6 Solos on the “ Crown ” Piano —
Mr. George Blumner
PART II
f (a) Waltzes — “ Reign of Love” Eno
\ [b) March — “Handicap” ....... Rosey
Hamilton Banjo Club
2 Baritone Solo — “If Thou Did’st Love Me.” Denza
Mr. T. Cushing Jones
3 Polonaise (Op. 17) Acton
Hamilton Mandolin Club
4
5
Soprano f (a) Irish Folk Song Foote
Solo \ (b) “Faliih ! Fallah ! ” Vander Stucken
Mme. Emma Suelke
Medley — “ ’96-*97 ”
Hamilton Banjo Club
Miss Tulia Planthol ) .
Mr. William J. Goeckel } Accom P amsts
Banjo Clubs With Piano.
Those who order piano parts for banjo dub music,
the sample parts of which appear on the pages of the
Journal , should remember that the leading, or solo
parts of such are played upon the banjeaurine, and
that the piano parts are written to meet the require-
ments of the banjeaurine pitch.
The u solo part ” can be used with the piano, and
the banjeaurine and piano played together under this
combination, but the mistake should not be made of
attempting to use the solo part of club mu-ic,
by playing it on the regulation banjo, instead of on
the banjeaurine, for in this case the piano part will
not harmonize. A little forethought on the part of
the players will prevent misunderstandings and
annoyance, both to themselves and to the publisher.
A piano part for a banjo solo is a good thing; it is
attractive and it is good for the player as well as for
the auditor.
A piano part suited to banjo club arrangements is
also a good thing, for the banjeaurine player of the
club can then play his banjeaurine parts at home,
accompanied on the piano, by his wife, his sister, his
sweetheart or some other competent person.
Then, too, a banjo club can be started with, say a
banjeaurine, a first and second banjo and a piano,
and the other parts may be added later on as the
work progresses. This will lead to an increase in the
number of clubs, and to a greater popularity of such
organizations, and their increased use in musical con-
certs and entertainments.
Then, too, a piano part added to a large banjo and
guitar rlub is no mean acquisition. In the final num-
ber, rendered by the Hamilton Banjo Club, at their
last concert here, the addition of the piano to the
forty or more instruments in use, including the two
bass banjos, was remarked as an improvement by
the large audience present, and there can be no better
organization from which to pattern, than the Hamil-
ton Banjo, Mandolin and Guitar Club, of Philadel-
phia, under the direction of Paul Eno. (See report.)
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
6
The Origin of the Present
Banjo Club.
We cannot give any authentic record of the origin
of the banjo, despite the many conflicting stories of
its early history, but the history of that modification of
the instrument, known as the banjeaurine , is not
clouded in mystery.
The advent of the modern BANJO CLUB has been
recently reviewed in these columns, and the begin-
ning of the club dated from the advent of the ban-
jeaurine, which was in the year 1885. The following
clipping, taken from a publication of that year, was
the first announcement of the 12 % inch Imperial
Banjeaurine :
“ Stewart has gotten out a new kind of banjo,
a large rim with short neck. They are the sharpest
and most brilliant banjos ever made. The rim is 12^
inches and the neck only 10 inches, but the ebony
fingerboard runs up over the head, so that 18 frets
can be placed on the fret board. These banjos sound
grand when played with the ordinary banjo, the thiid
string being tuned to C, an octave higher than
the bass string of ordinary banjos. They sell for
$ 3 ° 00.”
During the past dozen years the banjeaurine has
been improved and brought nearer perfection, and
the banjo club has become a highly popular institu-
tion. Piano parts, adapted to the pitch of the ban-
jeaurine, are now being published, and the improved
solo banjeaurine bids fair to become the favorite solo
banjo of the generation, while the piano parts
can be used together with the club performance when
desired.
Two books on clubs have been published, both
the work of Thomas J. Armstrong, price 50 cents
each. They are published by Stewart, and are called
Banjo Orchestra Music, or Hints to Arrangers and
Teachers of Banjo Clubs” and “Divided Accompani-
ment.” With such assistants the work of progress in
banjo, mandolin and guitar clubs, should be much
more rapid than in the past.
“The Stewart is King.”
The phrase, “ Stewart is King," relating of cou.se
to the banjo which is known by that name, has be- 1
come a widely-known and generally accepted syn- j
onym.
Ever since the palmy days of Horace Weston,
the late world-renowned and marvelous banjo player,
the S. S. Stewart Banjo has been recognized the
world over, among banjoists, as the King of all instru-
ments of its class.
It has been crowned with laurels as years went
by, and is to-day used by the foremost and most ad-
vanced performers known to the public.
There have been many changes in the banjo and
in the manner of playing it during the past decade or
two, and Stewart, the manufacturer of the Stewart
Banjos, has not fallen back one hair's breadth in the
work ; not only as a manufacturer has he kept in the
lead, but also as a writer, composer, editor and pub-
lisher; hence it follows that wherever a banjo is
known and played, Stewart’s Banjos, Stewart’s
Music, Stewart’s Books and Stewart’s journal are
household words. We can speak of this with some
honest pride, and look back upon the work of the
last nineteen or twenty years with some feelings of
satisfaction.
Time was when anyone who wanted to buy a suit-
able banjo for practice or playing, found his path
beset with difficulties. A good banjo, at a fair price,
was then a difficult article to secure.
Gradually all this has been changed, and the busi-
ness brought to something more like a legitimate
business or profession.
A few years ago one could not buy suitable banjo
music or books ; he must pay for everything to be
written and “ copied off” for him.
Do the players and students of the day fully appre-
ciate the work that has been done for them during
the past twenty years, to give them the cl early -
printed, well-arranged and correctly-harmonized edi-
tions of banjo club and orchestra muric ? Some there
are who do, and others who do not.
Those who have experienced the difficulties of
the “ old times,” appreciate the new order of things ;
young players and beginners may not realize an
appreciation, because they did not live in a time
when their experience with the banjo made it possi-
ble to know the value of the work now accomplished,
which was then lacking. No one can blame a per-
son for not knowing or realizing a thing which to him
has had no existence, for it is only by and through
our own experiences that we can know positively
anything at all, and the best experiences are those
that are most costly, for then we are more likely to
remember and profit by them.
Consequently our best friends among our banjo
and music customers are those who have had suffi-
cient experience, and gone through sufficient costly
experience with other instruments, to fit them for
appreciating a thoroughly good thing when they
get it. *
It was one and many of such experienced banjo-
ists who gave the term and coined the expressipn,
“ The Stewart is King” which has stuck to the Stew-
art Banjo year in and out.
*********
Of course, there must always be some fools as long
as the world wags along. A banjo seller, who bought
and sold banjos, after putting his name thereon, once
said, “ A new fool is born every day in the yeai. 7 ’
This dealer, it is to be supposed, believed this as a
truism, else where would his customers come from ?
So there are fools of another kind, who see every-
thing in a distorted light, imagine the product of
a diseased imagination for the vision they should
properly behold. These are the genus that see in the
“ Stewart is King ” the effect of their own perverted
imagination. They are apt to fancy that Stewart is
like themselves, with a conceited head and plug hat,
and full of “ blow” who likes to stand upon the
street corners with a pair of plaid breeches, a striped
vest and a huge shirt stud and proclaim “ I am
King.”
Now, we do not wish to destroy the illusions of
such rainbow-chasers, if their manner of living and
thought makes them any happier, and so far as we
are concerned, they are at liberty to dwell within
the limits of their ideals from now till doomsday, and
we wish them all happiness ; but we have a number
of correspondents and customers who do not belong
to their clan, and the longer we live, the more intelli-
gent people we daily come in contact with, among
the students of the banjo of the day.
*********
The banjo is becoming better understood day by
day and year by year, although there are still proba-
bly thousands of musical folks who have not yet
become acquainted with it ; yet the time is steadily
coming when the instrument will be recognized and
studied by all musicians, and there will be no reason
to be ashamed of it. To the workers of the past, such
players as the late Horace Weston and others, and to
the workers of the present, such as the w T onderful
Farland, who has stepped a few paces beyond the
previous workers, let us hope they will not be with-
out their just reward.
*********
Those who buy Stewart Banjos are always assured
of securing the full value of their money, and it is a
good thing to be sure of this in this world of mistakes
and dearly-bought experiences.
The Autoharp and Zither ’Jo
It will not be a “bed of roses” to the
proprietors of that rather mechanical and
expressionless instrument, called the “ Auto-
harp,” to attempt to push it into prominence
as America s National Instrument , although,
with the assistance of large capital and
plenty of advertising, almost anything can
be floated into a certain degree of popular-
ity, but the Autoharp was damned long ago
by the “simple method ” of musical nota-
tion with which it is accompanied. It is, in
short, a poor apology for the zither, lacking
the fingerboard, and with it all the effects
of the zither.
Speaking of the zither, reminds us of the
miserable attempt to turn the old time closed
back banjo into a “Zither Banjo,” in En-
gland.
Now the attempt to make a banjo out of
this wire string “ fake,” is very much like
trying to make the autoharp take the place
of the zither.
That the box back Zither ’Jo is a failure
there is every evidence of. A recent letter
from an English banjoist of much exper-
ience, and who knows what he is talking
about, contains the following:
“ Respecting the controversy about the
zirher or ordinary banjo, I can only say
that having given the Zither ’ To over four
years good trial, it is not in it with a good
ordinary (meaning the American open back
banjo) and I should not dream of playing
a zither banjo in a large hall.”
We should think that the “Zither ’Jo,”
would go well with an “Autoharp,” as the
wire strings would blend well together.
Strings ! Strings !
No “ Cat Gut” but Genuine Russian
Ringtail Rarer . Why fool around, experi-
menting upon strings, when you can string
your banjo with Stewart’s Strings, and get
the right thing at the right price.
Best banjo first, second and fifth strings,
double length, 10 cents each, or 15 strings
for one dollar. Mailed postage free.
Banjo third , or guitar E, 10 cents each, or
one dollar per dozen.
The very best bass , or fourth strings , xo
cents each, or 75 cents per dozen.
I11 quantities, we sell them as follows :
Assorted 1st, 2d, 3d and 4th strings, per
bundle of 30 strings, $1.75.
Hot weather strings . Stewart’s twisted
silk banjo strings, for hot or moist weather,
—first, second and thirds , 10 cents each, 15
for $1.00, 30 for $1. 75.
S. S. STEWART,
223 Church Street, Philadelphia, Pa.
His Dream— A Soliloquy
“ The Journal is, of course, a highly
profitable enterprise; old Stewart must be
growing rich, and lazy at the same time.
“ Let us see ! He gets 50 cents for a year’s
subscription.
“ Out of this 50, 12 goes to the U. S. Pos-
tal Department, by way of transportation.
“ Let’s see ! That leaves 38 cents, don’t
it ?
“ Now, out of this 38 cents there must
be paid for, six books of 32 pages each,
and one book extra given as a premium.
“ Of course Stewart don’t have to pay
anything for literary work , as he sits up all
night doing the work himself.
“Then it is no trouble or expense to
keep the subscription list.
“Let’s all go to work, publishingy^/vzaA,
and knock Stewart out.
“ There’s Partee, Otto H. Albrecht, and
Griffith ; they have all got papers and some
others have got pet corns on their toes. If
we don’t get to work, we’ll not be in it, the
way things are moving now.
“ To hail with it, lets get to work.”
And this being the end of his dream, the
sleeper awoke, cast off the slumbers of the
night, and wondered where he was at.
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
The card of E. B. RICHARDS, of Fond du Lac,
Wis., came in too late for our last issue, but appears
in this number. This gentleman is working hard for
the banjo in that locality, and we believe he is worthy
of success and hope he will win it.
The Banjo Club of the Girls 1 High School of Phila-
delphia, played at the regular Association Course of
the Y. M. C. A., at the Hall, Fifteenth and Chestnut
Streets, on the evening of January 28th last.
The organization comprises some eleven young
ladies, and they play well. Their teacher is Miss
Emily M. Hastings.
J. S. M’Kane, East Boston, Mass , writes : — “The
Special Thoroughbred Banjo was received some time
ago. It is really a wonder ; has a clear, ringing tone,
and very easy to play upon. I think the shape of the
neck holds the secret to the ease of execution with
left hand, as a similar ease of manipulation is
experienced with the Orchestra Banjo.”
Robert A. Heller, Easton, Fenna., writes: —
“ Enclosed find money order in payment for harp
attachment put on banjo, just received from you.
« The Special Thorouohbred Banjo, after but two
days practice on same, turns out to be a wonderful
instrument. It is far exceeding my expectations; it
possesses a quality of musical tone, which I am sure
cannot be found in any other banjo made. What
caught my eye particularly, is its deep, rich and
mellow tone, which has wonderful carrying power ;
also the sweetness and resonance of same. I find it
much easier to play difficult chords, and to make
chromatic runs, etc., owing to beautiful shape of neck.”
“WHO STOLE THE BANJO?”
O. H. Bullock, of no Twenty-sixth Street, De-
troit, Mich. , writing under date of January 21st, says: —
“ In October, I had my banjo of your make stolen. It
was a Champion, No. 16,461. I left it in a seat in
the car, and went to another part of the train ; when I
returned, the Jjanjo had disappeared. The fellow that
took it left the train at Vassar. I had the sheriff and
railroad detectives after him, but without success.”
Gatty Jones, St. Louis, Mo., writing under date
of January 23d last, says:— “Your letter of the 21st
to hand this A. M. The banjo-banjeaurine and man-
dolin by Adams Express at 12 o’clock. You ask me
to let you know how I like the instruments. Con-
cerning the banjo, I can only say, in my opinion, the
Stewart Banjo is the best banjo in the world for tone,
durability and beauty of finish. Concerning the
mandolin, it is the best for the price on the market ;
in fact, I don’t think a finer tone can be produced at
any price, it is true up to the last fret, and the finish
is all one can wish.
“ My first Stewart Banjo, I bought from the late
Harry Shorley, in Sacramento, Cal., 12 x 20 )4
inches. Then I came east, and got one from you for
$45.00, which I took to England. When I came
back, I got another from you, this I took to New
Orleans and San Francisco. Then you made me my
first raised fret, 11 ) 4 , x r 9 inches, this I took to
Seattle, Washington; and England, where I sold it,
and got another Thoroughbred and Pony. These
two, I lost in the cyclone. So you see I have always
used the S. S. S. Banjos.”
The Banjo, Mandolin and Guitar Recital, under
the direction of Van L. Farrand, given on Thursday
evening, February 4th, last, was a complete success.
It was held in Crawford’s Hall, Menominee, Mich.
Mr. Farland is a painstaking performer and teacher,
and we are glad to hear of his success.
Henry S. Atkins, New York City, writes : — “ I
desire to thank you for sending me the maiked CDpy
of the Journal. Many musical publications reach
me, but I must say that yours is the best I have ever
seen. A novice will find much to help him ; and the
expert banjo player learns something from it. The
Dreams of Darkey Land , published in the current
issue is a beautiful piece, worth six months subscrip-
tion alone. Your willingness to help players along
can have but one result ; making you the most popular
man with the banjoists throughout the world.”
H. A. Walsh, music dealer, Atlantic City, N. J.,
writing under date of February 5th, last, says: — “ Mr.
F. W. Sutton uses one of your American Princess,
ten inch rim banjos; it is unequalled in tone. He
says he would not take $50.00 for it. It was pur-
chased not long ago, from J. E. Ditson & Co.
“Mr. Sutton has played for years; C. H. Loag
was his teacher.”
The worthy editor of Cartee’s Padenza, states that
there is but a Trinity of first-class second-class maga-
zines published in this country at present, — the said
trinity being composed of The Cadenza , Ladies' Home
Journal and Scribner’s Monthly. We take it, of course,
that of this combination the real thing is the Padenza ;
but why in thunder is the Farmers’ Magazine left
out ? If that is not worthy of a place with the elect ,
it is surely very strange. After printing a page or
two more from the U S. Postal Guide , to fill out
blank-space, the little Cadenza f may win distinction
as a dealer in second-hand jokes.
Edward La Van, banjo soloist, of La Van and
Leslie, writing from Louisville, Ky., under date of
February 8th, last, says : — “ The Twentieth Cen-
tury Banjo I received last month, arrived in good
condition, and I am so well satisfied with it, I
thought I would write to tell you what I think of it.
Well, in regards to finish, it is a beauty, and as
for tone , I do not think it can be duplicated in any
other make, as I have used the and and
numerous others, but none can begin to compare with
the Stewart. Everyone who hears my Twentieth
Century admires the instrument, the tone especially,
and when they ask whose make it is, I don’t forget
to tell them it is made by the best banjo maker in the
world, and that is Stewart. In the future I will use
the Stewart Banjos exclusively, and will always
remember that the Stewart is King. I wish you the
success in your business that your talent deserves.”
104 W. 89th Street, New York, Feb. 10, ’97.
Mr. S. S. Stewart, Dear Sir : — i( The Journal
and catalogue received ; the latter is fine. I had not
seen the Journal of late, but the copy received to-
day is quite interesting and the music in the same an
attraction in itself. I am very busy teaching, having
most all my time engaged for the rest of this sea-
son. Thanking you for your kindness, I am,
Sincerely Yours, D. Emerson.
The Powelton Banjo Club, of Philadelphia,
pupils of Paul Eno, gave a highly successful first
concert, at New Century Drawing Room, on the eve-
ning of February 12th. The audience was highly ap-
preciative. Among the selections rendered by the
club were, Overture, ‘‘Cupid’s Realm,” Waltzes,
“ Aquilena,” March, “ El Capitan,” Mazourka, “ La
Belle,” Two Step, “Autumnal Festivities.”
A hit was made by Master Frank Atkinson, in his
banjo solo, “ Valse de Concert,” and in the banjo
duetts with Paul Eno.
This is a very promising young club, and contains
much good material.
W H. West, Battle Creek, Mich., writes : — “ My
new banjo, styled SPECIAL THOROUGHBRED, came
duly to hand three weeks ago. You will remember
that when I ordered this banjo, I wrote you, saying
that I felt justified in expecting a great deal, and so I
did, from the simple reason that during the last three
years I have kept a close watch of what others have
had to say (as well as yourself) through the Journal ,
regarding the tone and workmanship, etc., of the new
Special Thoroughbred Banjo, and I came to the
conclusion I could not make a mistake in ordering
the same. Your letter, acknowledging the receipt of
my order, reached me about six hours ahead of the
banjo ; in that I also noticed the following : ‘ Do
not expect too much, or you may be disappointed.’
When I read that I felt hurt. My stock of Stewart
enthusiasm depreciated just a little, and I could only
compare you to fifty-cent dollars and a flood of cheap
banjos. But after using the instrument for three weeks,
I freely forgive you, and must say that the banjo is far
beyond my greatest expectations ; beautiful in tone
and workmanship, it is not only superior to all other
makes, but surpasses anything in the Stewart line I
have ever heard. Of course, there are hundreds I
have never heard, and the other fellow with his
Thoroughbred thinks just as I do, and I don’t wonder
at it.”
The Vesuvius Banjo, Mandolin and Guitar
Club. — Our colored brothers, comprising this organi-
zation, gave a praiseworthy entertainment at Musical
Fund Hall, Philadelphia, on the evening of Febru-
ary nth, last. Both the banjo and mandolin clubs
were well handled, and such selections as Arm-
strong’s “Drexel Institute March,” Heller’s “Dreams
of Darkey Land,” and Farland’s “ Dandy Fifth
Quick-Step,” etc., were played effectively. The club
work was preceded by a minstrel performance, and
a supper atid dance followed. The entertainment
was an unqualified success.
John P. Wall, Sioux City, Iowa, writes
“ Stewart, let me get on the parade and tell you your
last Journal is a daisy; number 98 , 1 mean. It just
strikes me right; the reading is spicy and the music
is splendid ; any banjo crank that will read it and
not jump over the table ain’t much of a crank.
I have played your march and Heller’s “ Dreams of
Darkey Land ” with piano accompaniment for all
my friends and they go first rate, immense ; we
had the Chicago Mandolin Club here in con-
cert, it was on the hog ; we had Sousa’s Band
here in concert, simply immense, grand ; their mu-
sic was not only very fine, but their instrumenta-
tion was perfect. Their soloist trombone used to
play with our Iowa State Band, Arthur Pryor; he is
a wonder on the instrument. I went to two per-
formances, It is quite a treat to listen to such
music.”
D. E. Wood, Waverly, New York, writes : — “ I
always recommend only one banjo, and that is the
Stewart. I have played on all the different Ameri-
ican makes, but have never found one to equal my
Specialty.”
The P. R. R. Y. M. C. A. Banjo, Mandolin and
Guitar Club, gave an entertainment in West Philadel-
phia, on the evening of February 13th last, under
the direction of M. Rudy Heller. The club appeared
on this occasion in burnt cork, and gave a regulation
minstrel first part; using the banjos, mandolins and
guitars, with tambourine and bones in addition.
Personally, we do not think the negro business a
good addition to the banjo, although the audience
seemed to relish the sport immensely.
The harp solos of Miss Helen B. Reed were fine.
It is just music of this kind that produces the striking
contrast — when a banjo with loose head and false
strings is used for a negro song — on the same program
with the harp , the contrast is not in favor of the banjo ,
to say the least. We need more men like Farland,
to put forward the refined and better side of banjo
playing. Perhaps, however, that should not be men-
tioned in this department, but our deep interest and
earnest desire to see the banjo get upon a respectable
musical level, must serve as an excuse.
Much of the work of this club was good, especially
after they returned to the white face, towards the end
of the program. Master Lem. Stewart’s singing was
roundly applauded, and he was the recipient of
numerous encores.
Mr. Heller has done excellent work with this club,
and it should, in a short time, become one of the
foremost organizations of dhe city. We would, how-
ever, suggest the dropping entirely of the burnt cork
element, and aiming to elevate the status of the
organization. The banjo has served a long appren-
ticeship to the burnt cork minstrel business, and we
would like to see it graduated.
8
S. S. STEWART’S BANJO AND GUITAR JOURNAL
Warner and Chambers, the talanted young banjoists
of Philadelphia, are meeting with success wherever
they appear.
Clinton Jordan, of Boston, Mass., writes: — “ I
wish to acknowledge the arrival of my Journal. This
last number is worth its weight in gold. I can almost
repeat every word by heart, ads. and all. I look
forward with more pleasure to receiving the Journal ,
than I do to a letter from my best girl, and she is a
dandy too.
“ My Special Thoroughbred is getting better every
minute, and if it keeps on getting better, I will surely
have to ship it on to Farland. Enclosed find stamps
for a colored picture of Farland. I had the one you
so kindly sent me, but an admirer of Farland saw it,
and as she was a very pretty young lady I had to let
it go. I hope you will open your heart and send me
another. I have three concerts booked this month,
and expect some great results from my Stewart Banjo.
“ Teaching is on the boom , and I am adding new
pupils right along.”
Chris. Wetzel, of Wetzel Bros., banjoists, writing
from New London, Conn, says: — “ I received the
$60 00 Special Thoroughbred ', Wednesday, February
10th, all O. K., and I will say, that it is as fine a banjo
as I have ever seen. The inlaying on the fingerboard
is very artistically done, and the TONE equals the
appearance of the instrument",
“ I still have the $40.00 Special Thoroughbred,
which I purchased from you a few months ago, and
I will say that they are the two best instruments I
have ever had
“Your promptness in filling my order was also
fully ap predated.”
Erastus Osgood, Concord, N. H., writes : — “The
Twentieth Century Banjo is great; my pupil
delighted.”
John Davis, the Springfield, Mass., teacher, re-
cently removed to larger quarters. The following
letter explains itself : — “ I have moved again, this
time to 159 State Street. I have two elegant rooms
on the ground floor, in as good a location as there is
in the city ; next to a church, which stands back from
the street, and gives me a fine light, with a nice lawn
under my windows.
“ Business is good with me, it being increased over
100 per cent, in the last three weeks, and I am of the
opinion that the banjo is on the move again. Lots of
clubs are forming, and that of itself is one of the best
indications I have seen in four years. I have sold
nineteen banjos this month, mostly old ones I have
taken in exchange, and most of which I will probably
get back again in a few months in exchange for good
ones.”
James Reay, of Reay’s School of Music, 878
Third Avenue, New York, writes : — “ It is with great
pleasure I write to you regarding the two Thorough-
bred banjos I received on February 5th (I also
received your kind letter, your price list and copy of
the Journal ). I have been using banjos and other
string instruments all my life; with banjos I have
always been able to find some fault. But I must
truthfully state that this banjo gives me entire satis f ac-
tion. I have taken it apart and examined it thoroughly,
tested it in different ways, and I find it is perfection
in every point. It is not necessary for me to explain
to you the trouble I have had with different banjos ;
I have no doubt you know as much as I do about the
flimsy concerns; my intentions are now to use, and
recommend the Stewart Banjos exclusively. To
express the feelings of my partner in a mild form, I
can only say he has gone crazy with delight; he
never had anything he liked so well in his life.
“I have a pupil who uses your banjo (Thorough-
bred), and I find the bridge is not suitable for the
instrument ; please send me one dozen bridges, the
same as you sent on my instrument, and let me know
the cost, I will send by return mail. The banjo busi-
ness has gone back this last two years, owing to a
sort of a mandolin craze that has been here, which
will not last much longer, as the stuff they are
putting on the market in the shape of mandolins is
simply disgraceful ; so now with satisfactory instru-
ments we will try and keep the banjo in the lead.
“ Thanking you for your promptness in sending,
and wishing you good health and prosperity, etc,”
F. W. Bailey, Waltham, Mass., writes : — “Your
Journal improves with each number. It is head and
shoulders above everything that is printed in the
banjo line.”
William D. Bohnenberger, Newark, N. J.,
writes : — “ I received your No. 98 Journal , and must
say that it is certa ; nly worth go cents , alone, for the
music that is in it. The “ Dreams of Darkey Land ”
I admire ; it is a very fine solo. My brother Lester
and I played it at a concert, and it made quite a hit.”
L. C. Rinker, Frankford, Mo., writes: — “ I have
noticed many good things said about your Journal,
by its readers, and consider that nothing has been
said amiss.
“ Banjoists certainly cannot afford to do without it,
as is instructive, useful and entertaining. Besides
that, I do not see how you can afford to give your
subscribers so much good music in every number.”
J. L. Botsford, Jr., of Youngstown, Ohio,
writes “ The Special Thoroughbred Banjo, or-
dered from you by Mr. E. L. Brown, came to-day,
and he has had me trying it for him. I must say, it
is one of the finest banjos I have ever seen, and is
perfect in every way.”
On Tuesday, February 16th, there was banjo play-
ing in Philadelphia, at Heppe’s piano and organ ware-
rooms, on Chestnut Street. The following is the pro-
gram rendered :
The Last Smile, Wollenhaupt, aeoTan grand and
piano; Waltz — The Wayfarer, Stewart, banjo; Over-
ture, Night in Grenada, Kreutzer, seolian, piano and
pipe organ ; March — Drum March, by Hernandez,
Spanish, banjo ; Fantasia in E minor — The Storm,
Lemmens, aeolian, piano and pipe organ ; Bell
Chimes — Fantasia, banjo ; Up to Date March, Adam
Geibel, molian, pipe organ and piano.
Mr. S. S. Stewart and Mr. T. J. Armstrong, ban-
joists.
M. L. Watt, Great Bend, Kan , writes : — “ Please
find enclosed 50 cents for which send to my address
your Journal .
“ I am well pleased with the Journal , to say the
least. I am glad that some publisher has the nerve to
let people know what these simple methods amount
to, that you mention on page 28 of Journal No. 98.
“ I want to thank you for * To Teachers,’ I have
more trouble right in that line than any other. I
want to thank you, not so much on my part, as on
the part of the music itself, as an art and science. Only
once in a great while when starting in with a new
student (who has taken lessons elsewhere), do I find
them at all in condition to do their work that they
should. No position, no knowledge of their instru-
ment, and it all has to be charged to the teacher, as
a rule.”
Considerirg that this Journal is published with the
declared purpose of being an advertising medium for
the Stewart Binjos, Publications, and other goods, it
has a pretty good list of regular readers, who pay for
the Journal , and are nore than satisfied with their
money’s worth. It is indeed doubtful whether better
value for the money can be had in any publication
anywhere issued.
Will A. Barter, Sac City, Iowa, writes: — “The
banjo-banjeaurine, and banjo-guitar, I have of your
make, are giving the best satisfaction. I am very
glad to note that you have began to publish piano
parts for banjeaurine. The No. I mandolin came to
hand in due time, and proved entirely satisfactory,
and my pupil is simply elated over it.”
Macgregor Douglas, of Oklahoma City, sends
us a fine cabinet picture of himself and his Stewart
Banjo. Many thanks.
Thomas J. Armstrong has another new banjo
club under his tuition, pupils of the Hamilton School,
in West Philadelphia. It will likely be called The
Hamilton School Banjo Club.
Albert Lyles, of Portland Villas, Bath Street,
Dewsbury, England, writes under recent date: —
“ Thinks for banjos, safely to hand last week. The
special 10 inch rim is a splendid instrument. The tone
and power are just what I wanted. I used it last
night at a big concert, and the pure quality of tone
was very marked.”
W. C. Dore, of New York, was in Detroit, Mich.,
recently, with F. W. Hill and Chirles L. Van Baar.
It is said that while there, they made the kit of their
lives. Doi6 states that he never has changed his
mind regarding the merits of the Stewart Banjo.
In speaking of the General Alger Banquet, concern-
ing these players, the Detroit Free Press, said ; —
“An orchestra had been brought from New York
simply to give the music. It consisted of four banjo
players and a pianist. Music of this character must
be heard to be appreciated ; it cannot well be imagined ,
for the combination is one that has been heard by but
few Detroiters. The players, the most skilled men of
the kind to be found in the metropolis, seemed to be
at their best, for airs of every description, from the
simple popular tunes with the stamp of street approval
on them, to the choicest selections from the best operas
of the day, were played.”
Our Montreal, Canada, correspondent, writes : —
“ The annual concert of the Zingari Banjo and Guitar
Club, in the Windsor Hall, February 5th, was one
of the musical successes of the season, There was a
large and fashionable audience who were most lavish
in their plaudits. The Zingaris were in good form,
p^yed with a finish worthy of professionals.
“ Mr. Meridith Heward, their conductor, was re-
called several times for his banjo solos, and proved
himself master of his instrument.”
Wallace W. Morris, Louisville, Ky., writes:—
“ Mr. Farland gave another of his most delightful
concerts in this city, last Saturday night. There was
a large number of our foremost musical people present,
and as a matter of course, he was most enthusiastically
received.”
Fred. Stuber, the Sou'h Bethlehem Boy Banjo-
ist, writing under date of February 24th, says: —
“ My banjo has turned out very fine. Monday eve-
ning I played at Allentown, at a musical reunion,
and my Stewart Thoroughbred had the best tone of
any banjo there. I played Ahead of the Times
March, and made a hit. I also played banjeaurine
with the Lehigh Club . I received a letter from Mr.
Farland, which I enclose.”
The letter from Mr. Farland was as follows :
Louisville, Ky., February 2 1st, ’97.
My Dear Boy: — Yours of the 14th received.
Yes, I heard all about your playing at Philadelphia,
and am glad you were successful. Stick to it, work
hard in the right way , and you will get there O. K.
I expect to publish Kentucky Hotne and Varia-
tions soon, and will send you a copy soon as out. I
have only one copy of William Tell , and need that
constantly.
As I am on the road most of the time, it is almost
impossible to get time to write Mss. Wishing you
every success,
Sincerely Yours, A. A. Farland.’
William Sullivan, the popular teacher, of Mon-
treal, Canada, has lost his wife, through death from
consumption. This sad event occurred on February
1 6th, leaving two young children to mourn a moth-
er’s loss.
Mr. Sullivan has our deepest sympathy in his
affliction.
George G. Caird, of Glasgow, Scotland, writes
very enthusiastically of the banjo and of his favorite
Journal , and favors us with a set of photographs
of his banjo band, (“ Stewart Banjo Team ”) for
which we tender many thanks. All of Mr. Caird’s
time in teaching is filled.
W. H. West, Battle Creek, Mich., writes:— I
beg your pardon, sir, but I want to remind you once
more, that my Special Thorotighbred Banjo is far
beyond my expectations. It is the most brilliant-
9
FLAXY CUNNINGHAMS CAKE WALK.
MANDOLIN AND GUITAR .
By E.H. FREY .
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Copyright, 18 97, i»y S,S„ Stewart .
Flfcxy Cunninghams Cake Walk . 1YT.& G .
13
A. CREOLE S dream .
FOR TWO BANJOS
By FRED S TUBER.
Copyright, 1897, by S.S. Stewart .
THE BARBER AND BUTCH EH
COMIC BANJO SONG
y gw mmm
1, , III sing of a bar. ber who liv’d In this ci . ty, He
2, There was a young maid.en by the name of 0’ Bri _ en, Pro.
3, But a young butcher boy by the name of Hans Schneider, He
4, When.Ma . til . da 0’ Bri . en she heard of the slaughter. She
fllMU
hair it was cur - ly his heels double jointed. He was chief engin . eer of a
pass by the shop on her way to the market. And in at the bar. her shed
load.ed a bladder with kidneys and doughnuts. And straightfor that sweet scented,
swallowed three gallons of bran.dy and wa.ter, And then went down in the
L* TAW
liisa
1 9 Am
iisssa
Shaving Saloon . To see him each morning a
"cast a sheeps eye’.' The bar. berwould wait till he
bar.ber he flew. Then the bat-tie commenc’d and the
cel - lar and died . Then the barber went era. zy and
handling his ra.zor, The .
saw her re.turnJng, And
slaughter was aw.ful, Theywiii
bust.ed his business. At
II Mi%m
people would gather in crowds round the door,- And all would exclaim as he
qui.et _ ly then to the door he would come. And a box of pomade he’d
murder in. tent on each oth.er did rush. But the barber he soon got
pol.i . cy played and hi s mon.ey let fly. He melt, ed and melted clea]
saa^r:
MU
slapp’d on the leather. Such a sweet scented Bar.ber theyd ne’er seen be . fore
slip into her bask.et. And then drink her health in a quart of Bay Rum
best of the butcher. He blew out his brains with a lath.er. . ing brus
down to a shadow. Then poisoned him. self with a box of hair dye
16
PAUL ENOS MANDOLIN INSTRUCTOR.
THE TRIPLET.
A Triplet is composed of three notes, with a slur and the figure 3 placed over or under them
thus: j-j-j LLS an< ^ are ^ ie li me of two notes of the same value.
The first note of the Triplet is played on thebeat;_in the above example it will be seen that hav.
ing three eighth notes to play in the time of two eighth notes, which receive the same time, it is neces.
sary to play them a little faster, but each note of the Triplet must be of the same length or duration,
tlyis attaining the necessary eveness of notes.
No 29.
STUDENTS MAZOURKA.
I V A V v V A V • ' v
Mazourkatime (tempo) is slower than Waltz movement. In the first measure of the second
strain, the stroke Is marked thus V_V_,the dash indicates one movement of the pick instead of two
separate strokes, which is done by gliding the pick from the C to the next note with the down stroke.
Copyright 1897 by PAUL ENO.
17
PAUL ENOS MANDOLIN INSTRUCTOR.
N? 30.
First Mandolin .
MY MANDOLIN WALTZ.
P. E.
■ fMsm
iiiki
ir^i
i I i
TRIG K
D C al Fine
then to Trio
poco a poco
cresc.
The letters placed under the strains of the above Waltz are marks of expression, meaning as
follows:
p (Piano) play softly-, — - ' — ■ — - play softly where the lines meet, and as they separate,
increase the volume of tone; decrease the volume as the lines meet; rnf (Mezzo Forte) moderately
loud; f (Forte) loud; poco a poco little by little ; cresc. abbreviation for the word Crescendo, in.
crease the volume gradually.
19
3rd. STRING.
„ _ . & Major. Chromatic.
Et.f>4 .
2nd. STRING.
H Hfninr. fht^ntnntit*
20
To Frank S. Morrow, Lea cier of the Imperial Banjo Club of Harrisburg,Pa
IMPERIAL. MAZURKA
FOR BANJO CLUB .
BANJEAURINE ( solo part.)
Bass elevated. THOS.J. ARMSTRONG.
Tempo di Mazurka .
* . u > ? K >
21
22
To T he Bohemians ...
“THE BOHEMIANS”
As played by the Carleton Banjo Club .
¥ OK BANJO CliUB .
BAN J E AURI N E . ( Leading Part . )
Bass to B . lntrod: M. RUDY HELLER.
Lively .
This Piece for Banjo Club, complete 7 Parts, with Piano Accompaniment 01,50,
Plano Aeeomp’t seperate, 25ets. Can beusedto accompany Banjeanrine alone, if desired •
N 0 560 . heroic mar.ch.
(FOB BANJO CIiUB.)
BAN JE AURINE . THOS.J. ARMST RONG- .
Bass Elevated .
Tempo di Marcia .
Copyriglft, 189 2 , hy S.S. Stewart . D.C.al Fine.
Full Club ( 7 Parts) 50ets. Piano Aeeompt; 25ets, S. S. Stewart, Publisher. PUilada ,
Wm. H. Keyser & Co.,Phila. Pa.
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
25
toned instrument I have ever heard and absolutely
musical from the first to the twenty-srcond fret. I
mean by this that the quality and quantity of tone is
perfect. To be brief, the S. S. Stewart is known to
have been the best and only banjo until you came
out with the new Special Thoroughbred , which is a
better banjo than S. S. Stewart ever made before.”
C. S. McColloch, Vernon, Texas, writes: — “I
would like to say that the Special Thoroughbred
Banjo, purchased of you about one year ago, has
given me more pleasure and satisfaction than any
banjo I ever owned. In fact, it is perfect, and I
wouldn’t take its weight in free silver for it.”
three others, but none of them are equal to yours.
We use your Thoroughbred and Imperial Brnjeau-
rine in our trio , and would not use any other make.”
THOMAS E. GLYNN A BENEDICT.
Tommy Glynn only recently informed us that as
far back as last October, he was married to Miss Ada
White, of Wilkes Barre, Pa., and now makes his
home in the City of Philadelphia, although he is on
the road most of the time, pursuing his profession.
If not too late for congratulations, we tender the
same now, and wish the happy couple a safe and
prosperous voyage through life.
Frank S. Morrow, the celebrated teacher, of
Harrisburg, Pa., gave a very successful performance
with his club, at the Grand Opera House, in that city,
on the evening of February 23d. The papers spoke
highly of the performance. J
Mr. Morrow says that he thinks La Premier \
March, by Eno, the best thing since “ LTnfanta.” ;
Morrow’s club is in fine playing condition, and
rendering such pieces as *• Drexel Institute March” 1
and il Grenadier Overture ” successfully.
The following extract is clipped from a small
pamphlet, advertising the instrument known as the
Autoharp.
“The question almost immediately arises in our
minds, 4 Have we a national instrument?’ And the
answer until now lias always invariably been, ‘ Not yet.’
“True, the impression prevailed for a long time
among our foreign cousins, who are ever more prone to
disparage us than to flatter, that the banjo of the blacks
was the national instrument of the American people.
“ Fortunately, that ridiculous belief has lost credence,
and the instrument of the ‘quarters/ with its blunt,
expressionless 4 plunk- plunk/ has long since been rele-
gated to its proper sphere on the variety stage, among
the properties of the whistling coon or the black-face
sketcliists.”
With all due respect to Mes rs. Dolge & Son, the
autoharp manufacturers, we must sUte that the writer
of the above is sadly “ oft his base.” The banjo
(even the “Old Tub”) is proven not to have been a
negro instrument, and the autohaip, whether instru-
ment or toy, has 'an awfully long and laborious
journey before it, ere it has even the remotest possi-
bility of meeting the modern American banjo in the
race.
Again, the statement that the banjo has been
reh gated to the “ variety stage,” displays ignorance.
The autoharp should take a few hints from Alfred A.
Far land. Prejudice will not win in these latter days.
A THIRTEEN YEARS’ TEST.
Sam Payne, of London, England, an old and
friend ly correspondent, writes under date of February
14th, an interesting letter, which contains the follow-
ing ; — “ You will be pleased to know that I have still
got my S. S. S. Banjo, and that it is thirteen years
old, this month, and my opinion is greater of it now
than when I first had it, for I did not know its worth
then. I might add, that the nick-name I bear here,
among the boys is that of * Stewart’s disciple.’ I
wish you good luck and health.”
Erastus Osgood, the Concord, N. H., teacher,
writes : — “ The banjo club at the school is playing
Heller’s Dreams of Darkey Land , finely ; and all say
it is a star. They are also playing ‘ Love and Beauty
Waltzes, 5 right up to the mark/’
THOMAS GLYNN’S LOSS
Mrs. Thomas E. Glynn, mother of the noted ban-
joist, died February 13th, at the home of her daugh-
ter, Mrs. John J. Mahoney, of Portland, Me. Cause
of death was acute pneumonia. Her son and four
daughters survive her.
George P. Garcelon, Auburn, Me., writes : —
w My pupil was delighted with the $20.00 banjo. He
got a better instrument than he expected (They all do
when they buy a Stewart). It was the best banjo at
the price I ever saw.”
Robert Page, New York, writes : — “ I consider
yours the best Journal in existence; I have taken
“ Practical Fingering for the Banjo,” by
George W. Gregory, has been published in book
form, at 60 cents per copy. It is worth its weight in
gold. No work like it has ever yet been produced.
S. S. Stewart, Publisher.
Mrs. Dufour, the well-known teacher of banjo,
mandolin and guitar, was in our city recently.
W. E Stratton and pupils gave their ninth annual
concert in Lowell, Mass., on February 24th, last.
W. B. Leonard, when heard from recently, was
in Albany, Georgia, teaching. He says the musical
negro down there is a myth. They do not hanker
after a banjo, but pick a little on the guitar, which
they call a “ box.”
Memphis Kennedy, writing from Butte, Mont.,
under date of Feb r uary 26th, says : — “ I have received
the Thoroughbred Banjo O. K., and am pleased with
it in every way, and whenever I can put in a word for
you in the way of a sale, I will do so.”
A. I. Reeves, Helena Music House, Helena, Mont,
writes: — “ Please leave my name on the subscription
list of the Journal , and don’t forget to send me the
last i c sue. Your Journal is an inspiration to both
the professional and amateur, and neither should be
without it.”
N. S. Lagatree, Saginaw, Mich., writing under
date of March 1st, said : — “ I herein enclose program
of Farland’s concert. Everything went off all right,
there were people there from a number of towns, and
they were simply stunned by his wonderful playing.
“ By the way, I have a club of litte boys, from nine
to fourteen years of age ; there are nine of them, and
they are attracting quite a little attention in local
circles, by playing. I gave one of them his lesson
the morning after the concert; of course they were all
there, on the front row, and this one was very much
disappointed because Farland did not play the
Martaneux Overture and the Plantation Dance.”
“ The Coons’ Parade,” an English musical publi-
cation, for the “Jo,” turns out to be one of Lansing’s
American compositions, well-known here. How they
do pervert things among the English ’Joists; but
“murder will out.”
John W. Grant, of New Glasgow, N. S., who
advertises his new music in this issue, writes : — “ By
the way, while sojourning in Uncle Sam’s domain
last year, I bought one of your Special Thoroughbred
Banjos (No. 18,062), and to say that I am pleased
with the instrument, would be putting it too mildly.
It is all I expected, and I expected a lot.”
A. A. Farland played in New York City, on the
evening of March 2d, at the “ Tenth Annual Banjo
Concert,” with Brooks and Denton, Ossman, Farmer,
Rush, etc. The concert came off at Chickering Hall.
Farland met with his accustomed success.
A concert was given in the beautiful auditorium of
the Drexel Institute, West Philadelphia, on the
evening of March 4th, and hundreds were turned
away unable to gain admission, while the hall was
crowded to the doors.
The program embraced an organ solo, by James M.
Dickinson ; club numbers by the Drexel Institute
Banjo Ciub, Fortuna fValtz, Drexel Institute March ,
Rastus on Parade , King Carnival March ; vocal
solos by Miss Guelma L. Baker, Mr. John Betts and
Master Lem. Stewart; drum solo by Mr. Burt An-
thony, and banjo solos by S. S. Stewart. The
entertainment wound up by the audience singing
u America.” It was a complete success.
The Stewart Banjos were fully represented.
W. R. Lee, of Melbourne, writer, in good health
and spirits, and favors us with a few more subscrip-
tions for the Journal . He has had a large racing
stable under his charge, but still finds time to do
some practice on the banjo, and is as much in love
with his S. S. S. Banjo as ever.
A. D. Grover, of Boston, states that owing to his
business of Mechanical Engineering taking up so
much his time, he has been obliged to sever his con-
nection with the Boston Ideal Chib. His place is
filled by A. A. Babb.
Mr. Grover states that it is with feelings of much
regret that he leaves the company with whom he has
been so long associated, and with whom he has found
so much pleasure.
The following was received from Bartlett Mes-
mer, of Mesmer’s Piano, Banjo, Mandolin and
Guitar Studio, of New Orleans, La., dated March
1st: — “I purchased an American Princess, and
after a thorough test, in both solo and duett work, am
delighted with its performance. I find it rich, full,
sweet and brilliant in tone, and most thoroughly re-
sponsive in all keys and positions, both in forte and
piano parts. This is the only style of your instru-
ments I have had the pleasure of examining, and if
your later styles are any improvement on the Prin-
cess, they must, indeed, be marvels of musical per-
fection. The banjo in the South is not on the wane,
(as some prejudiced critics would have us believe)
but it is daily increasing in popularity, especially
among musicians and lovers of scientific music. The
fools that heretofore have indulged in the scathing
denunciations of the banjo, declaring it a thing and
not a musical instrument, are either becoming more
enlightened, or are ashamed to express their old fogy
opinions. At any rate, we now seldom hear such ex-
pressions, thanks in a great measure to your perfect
instruments and your sensible publications on the
subject. I wish you and the Stewart Banjo eveiy
success.”
F. W. Schuster, Birmingham, Ala,, writes: —
“ We gave two banjo concerts recently, at Phillips &
Crew’s Music Hall, and the selections rendered were
much appreciated.”
George A. Austin, of New Haven, Conn., writes
that Farland’s concert there, on the 5th of March,
notwithstanding the miserable weather, was a com-
plete success.
From the New Age (Tunkhannock, Pa.)
“ Miss Martha Lobeck is the happy possessor of the
best banjo in this part of the State. Her father, Dr. H.
F. Lobeck, the other day, presented her with an S. S.
Stewart Special Thoroughbred Banjo. It is the same
banjo used by A. A. Farland, the greatest banjo player
in the world. This banjo is a world-famous one, unex-
celled in tone and finish, The doctor purchased the in-
strument of J F. Wiggins, the popular music dealer.
Mr. Wiggius is in correspondence with A. A. Farland,
with a view to giving the banjo lovers in Tunkhannock
one of his renowned concerts We shall look for it at
an early date."
Barney FAlch, writing from Butte, Montana, says
that a good teacher should do well, if one such would
locate in that city.
He also writes : — “ Your Journal is as interesting
as ever, and a banjo player without it would not be
up to date.”
Frank T. Pearson, of East Orange, N. J., has
joined hands with Albert J. Weidt, of Newark, N.
J., as a musical team.
These gentlemen are great friends to the Stewart
Banjo.
S. S. STEWART'S BANJO AND GUITAR JOURNAL.
26
C. Parkinson, Seekonk, Mass., writing under
recent date says : — “ I received the banjo ( Special
Thoroughbred) on the 28th of February, in fine
shape. I played on it considerably since then, and
find it is a dandy . It is a fine piece of workmanship,
and the tone is simply fine; in fact, I am simply
stuck on it, and I can’t find words to express my
thanks to you, for picking me out such a fine instru-
ment. I will recommend your banjos to everybody.”
BANJO FESTIVAL.
Claud C. Rowden, the Chicago, 111 ., teacher, will
have a banjo festival concert in that city, in May.
He is busily engaged in drilling a large banjo or-
chestra for the occasion, and will play two of Stewart’s
publications, The Fortuna Waltz , by Armstrong,
and Dreams of Darkie Land , by Heller. These
selections will be rendered by 100 banjo, banjeau-
rine, mandolin and guitar players, and banjo matters
in Chicago are destined to be active for some time to
come.
Charles KathAN, Osage, la., writes : — “ I re-
ceived the Thoroughbred Banjo some time ago, and
I have given it a good trial. I never saw a banjo
that just suited me, before I got this one. I would
not like to part with it at any price. ”
Banjoists, and those interested, should make a note
of it, that Farland plays in New York City, at the
Berkley Lyceum, 19 West 44th Street, evening of
April 2 1 st. It will be a musically select treat to
attend this concert, as it is under the management of
Francis Gilman, and the banjo is to be represented by
the Only Farland; the mandolin by Valentine Abt,
and the guitar by W. J. Kitchener.
We advise our readers in the vicinity of New York
to attend.
Henry Howison, Secretary of The Hamilton
Banjo Club, who was unable to appear at the last
concert, on account of serious illness, has happily
recovered, and is about again.
Edw. J. Henderson, is doing well with his banjo
classes in Pittsburgh, Penna. He has organized the
Pittsburgh Banjo Club, among the members of which
are some excellent players. The Western Penna.
College Glee, Banjo and Mandolin Clubs, will hold
their annual concert in Carnegie Hall, in Allegheny,
March 26th ; although this issue of the Journal will
not be out in time to announce the event, but we let
it go in the way of chronicling the event, Henderson
is a hard worker, and well merits his success.
The Montreal Daily Star in speaking of a musical
concert in that city, recently said : — “ Mr. Meredith
Heward’s banjo solos were the best that have been
heard in this city for many years.” We are pleased
to report this, Mr. Heward being a great Stewart
Banjo man.
George Carr, the well-known Scranton, Pa.,
teacher, is highly pleased over the increase in his
business in Scranton and Tunkhannock, where he has
a large class and a new club.
W. F. Fletcher, Tiffin, Ohio, writing under date
of March nth, says: — “A. A. Farland played here
February 4th, and pleased a large audience, composed
principally of the society and musical people of the
city. His performance met with such special favor
that I have several requests to have him appear again,
and will in all probability do so some time in May.
“ One amusing incident occurred, which I intended
writing you at the time. I was taking tickets at the
door. The first number, Beethoven’s Sonata had just
been rendered, when a young man came hurrying up
the aisle, and asked for a check, as he wanted to go
home for his wife : said it was the greatest thing he
had ever heard, and would not have his wife miss it
for the world. They came in together, about fifteen
minutes later, out of breath, but satisfied. Have
enclosed clippings from Tribune. Business with me
is improving, and am devoting my entire time to music
now. Was elected a member of the faculty at
Heidelberg University, and will take charge of the
string instrument department, beginning with next
term. Have organized a class at Altica, Ohio, and
also one at Mansfield. You will hear from me at the
latter place very soon, as indications for a large busi-
ness here are good ; in fact, you need not be surprised
to hear of me locating here at any time.”
Charles McFarlAne, writing under date of Janu-
ary 20th, was in Napier, New Zealand, where he had
a good class of banjo pupils. He had just given a
recital to a good house, and the rich tone of his
Stewart Universal Favorite Banjos won much
applause and comment.
Banjo Songs, sheet form, words, music and accom-
paniment, complete, 25 cents each; “ My Old Ken-
tucky Home,” and “ Massa’s in de Cold Ground.”
Published by S. S. Stewart.
W. E. Temlett, the English banjo manufacturer,
of London, is a son of W. Temlett, who has been in
the same line of business for many years, and who
was, we believe, connected with J. E. Brewster, in
London some years ago. The younger Temlett is a
man of much enterprise in the musical line, and the
publisher of the Journal wishes him all success.
Regarding the “zither-banjo,” Mr. Temlett writes: —
u The zither- banjo is undoubtedly our old friend, the
closed- back, invented by Dobson, of New York;
also my father, Mr. W. Temlett, patented a similar
idea here, in November, 1869. So, you see, the idea
is not new, or original, as claimed by some here ;
the only alterations are wire strings and a tube under
the fingerboard, which carries the octave string up to
the machine-head.”
Joseph J. Mara, Passaic, N. J., writing under
date of March 13th, says : — “ My concert was given
on the nth, before one of the largest audiences that
ever attended any concert in this city. In fact, a
great many had to stand. I tell you, Farland sur-
prised some of the musicians of this city.
For a week before the concert I was laid up with
la grippe, and I was afraid I would not be able to
attend to matters at the concert, but I managed to get
around and keep on my feet until after the concert.
Regarding the two banjos used as prizes to ticket
sellers, Mr. Howard Soule, a pupil of mine, won the
the first, selling $115.00 worth of tickets; Mr. Fred.
Hyde won the second prize, turning in $82.50 for
tickets.”
The prizes referred to were a Stewart $30.00 Banjo-
Banjeaurine, and an $18.00 Stewart Banjo.
F. M. Planque, Saginaw, Mich., writes under
date of March 14th : — u Enclosed you will find notice
and program of our Farland concert, given here
February 24th. The concert was a success in every
way. Farland’s playing created a great sensation
among the musical people of Saginaw. I think he
has improved wonderfully since I heard him last.
“ I have several new pupils already, on the strength
of his playing here.
w I gave a recital when I first came here, and made
quite a hit; notices and program of which you will
find herein. I am doing quite well I think for a
starter, and have been here less than three months,
and am giving over thirty lessons per week.
“ Farland thinks Saginaw is one of the greatest
banjo towns in the country. It is a good town for the
banjo, guitar and mandolin, and I believe by next fall
I will have all I can possibly attend to. I am going
to have my sister come here from Huntingdon, Indi-
ana, to assist me and take charge of the beginners.
“My Special Thoroughbred is still the only
BANJO. It is in fine condition, and sounds like a bell.
I have one of Farland’s harp attachments, and it
works like a charm. I am here in the midst of other
banjos, my studio being in the same building where
they are made, but I have not as yet been convinced
that there is a banjo made that is equal to the
Stewart.”
F. Wilbur Hill, the artistic banjoist, writes that
he has many engagements booked for the spring, in
New York, and also on the road. He speaks very
highly of his Stewart Thoroughbred Banjo, and we
are sure that he means what he says. We wish him
all success in all he may undertake.
Charles E. Heinline, of Easton, Pa., speaks in
warm terms of the progress being made by his daugh-
ter, Fannie, on the banjo.
George L. Lansing, of Boston, states that the
pirating of his compositions in England will be
effectually stopped, through his arrangement for for-
eign copyright.
“ Teaching, in Boston,” he says, “has been the
best this season, yet known.” He also speaks in
high terms of the new book, “ Practical Fingering
for the Banjo,” by Gregory, price 60 cents. The
Boston Ideal Club goes out for four weeks on the
27th of March, to visit Indiana, Illinois, Michigan,
Minnesota and Iowa.
D. Acker, Wilkes-Barre, Pa., writes: — ^Farland
played recital under my local management, in Ha-
zleton, Pa., March 12, and scored same as ever,
people overjoyed. Mr. Farland is not only a won-
derful artist, but just as perfect a gentleman. The
recital was a financial success.
Concerning Philadelphia banjo club matters, PAUL
Eno says : — “ The proposed concerts of my clubs
will be given as follows : Y. M. C. A. Club, Thurs-
day, March 25th; U. of P. Club, at Atlantic City, N.
J., Saturday, April 17th and Monday, April 19th;
Mt. Vernon Club, Tuesday, April 20th; Hamilton
Club will assist in concert at Horticultural Hal),
Saturday, April 24th ; Manheim Club Spring Con-
cert at Manheim, .Saturday, April 24th ; South End
Wheelmen Club, Wednesday, April 28th (Annual
Concert); Century Wheelmen, latter part of April,
date not definitely settled; Euturpean Club, first
week in May. These are the events I know of now.
When this season closes, all of my clubs will have
given from one to two club concerts, which shows
more interest than ever in the club work, and I
know it is fully appreciated by the vast audiences
which have greeted them on several occasions. I
am glad to see the clubs’ membership increase from
time to time, and when next season opens, I venture
to say we will have not only the largest, but the best
equipped clubs in the country, and all good, strong
organizations.”
T. L. Snyder, the most able leader of the Twin
City Mandolin Orchestra and Banjo Club, St. Paul,
Minn., is very much pleased with Stewart’s late
publications for banjo, mandolin and guitar clubs.
Writing recently, he says: — “I wrote to Mr. Far-
land, and will have him out here in May, It put a
lot of interest in the boys, and I think, when he comes
again, it will double my business. If the banjo
teachers would get a little push to themselves, we
would have the banjo the leading instrument of the
day.”
Miss Jessie Delane, the well-known New York
teacher of banjo, mandolin and guitar, No. 8 East
57th Street, inserts her card in this issue.
The following interesting letter comes from Fred •
W. SHERRATT, Towranna, W. Roebourne, N. W.
Australia, under date of January 14th, last : — “ In my
last, I stated that I had ordered a Special Thor-
oughbred, but owing to my order being too late for
the American mail, it will be sometime yet before I
shall get it.
« Mr. Lyon’s, in writing to tell me that my order
was too late, stated that he had one of your Specialty
Banjos, and specified the dimensions, etc., and asked
if I would take it instead, but I told him I had set
my heart on possessing a Special Thoroughbred, and
would wait ; shortly after, a gentleman came to my
store and asked me if I could sell him some strings.
I heard of him before, and after some conversation,
we had a little music, and then I found out he was
just beginning, and was learning, or trying to learn on
an old banjo I would not stoop to pick up; it had
been shown to me before as a nice toned banjo, but
after I had expressed my candid opinion about it, the
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
27
previous owner quickly sold it, and my new friend
bought it. I told him this, and showed him your
catalogue and Journals , and mentioned Mr. Lyon’s
last offer, and finally got a $15.00 deposit to send for
it ; after a little more conversation, I gave him a copy
of The Banjo Philosophically , and an instruction
book and strings that he wanted, and he then went
away.
“ Shortly after I went to town and wired for the
instrument, and about fort-night afterward it arrived.
I was very much pleased whh it, and showed ft to
many people, and elicited the warmest approval from
everybody ; apropos this — some time previously I had
occasion to go down to the port on business, and
happening to stroll into the parlor of one of the hotels,
I saw upon the table a smooth- fret banjo, one of J. A.
Turner’s, with the 1st, 2d and 5th strings of wire.
I picked it up and played a few tunes on it and then
laid it down, upon which a gentleman, who was sit-
ting outside, asked me if I played much ; I told him
I was trying to learn. He told me had been a player
some ten years or so, and was now going to Perth,
the capital city, to teach the ’Jo. Asked him which
notation he used, but he failed to understand me. I
explained, but he had never heard of the American
notation ; he remarked that Cammeyer was the best
player in the world, to which I dissented, and
expressed a strong disapproval of his conduct in con-
nection with the Love and Beauty Waltzes . I asked
him why he used wire strings; he said they were
cheap, and could get them for two cents each, and he
liked the Zither Banjo in preference to the real one,
as being more brilliant. I then mentioned your name
and the Journal , and after showing him a sample
of Gregory’s system of fingering, and promising to
send him some of your Journals if I had the chance,
I left.
“ Now is the sequel :
“ Sometime after, I went up to the hospital to see
an acquaintance, who had met with a severe accident,
and as I was talking to him as he lay in bed, I was
surprised to see a gaunt figure rise from cne of
the beds opposite, and in a weak voice ask me,
‘ What about those Journals ? ’ It was some time
before I was able to recognize him, but at length I
found out it was my friend, the zither-banjo man. I
went over and shook hands with him and he said he
had been ill with the fever ever since I last saw him,
and was dying to play the ’Jo again, so I told him I
had just imported one of yours and promised to let
him see it. I did so that same evening, and he ad-
mitted that it was as good as he had ever seen ; in
fact, he thought it the best, and wanted to know your
address, which I of course, gave him and left, after
promising to see him again.
“ I will close this somewhat long letter with the
remark that the owner of the Special is within four-
teen miles of here, and is making good progress
with what tuition I am able to give, and we have
promised ourselves many pleasant hours together
when the Special Thoroughbred arrives, and hope in
the near future to show the people here what a good
banjo is.”
Master Fred. Stuber, the remarkable boy ban-
joist, played a week’s engagement in Philadelphia,
beginning March 22, at the Bijou Theatre, with the
Carleton Banjo Club, under Heller’s leadership. The
Stewart Banjos were used.
Chic Kehoe, St. Louis, Mo., writes : — “ Believ-
ing that you are ever ready to listen to anything con-
cerning the interests of the banjo and banjo players,
I am forced to write you concerning a new freak in
the way of playing that instrument that has just come
to my notice, and may possibly be new to you.
While attending a variety entertainment at the
Hagan Theatre, here, this week, one of the perform-
ers introduced, in a musical act, a banjo strung with
wire strings and played with a plectrum, the same as
a mandolin. The result, from my way of looking at
things, was anything but satisfactory, and should be
relegated to the attic, along with the now obsolete
closed- back banjo, and simplified methods of instruc-
tion. The familiar and beautifully characteristic tone
of the banjo is entirely lost by this means. The rich,
round, deep tones of the bass are absent, while the
tremolo effects on first, second and third strings sound
clanky and metallic, instead of soft, sweet and clear.
as exemplified by the up-to-date modern banjoist,
who is content to play the instrument as it should be
played.
** In strong contrast to the above, was the recent
playing, in the same house, of that master banjoist,
E. M. Hall, whose all round playing, in both stroke
and picking styles, carried the house by storm. I
am afraid the young man with the plectrum-manipu-
lated banjo would have a hard time trying to follow
friend Hall’s rendition of the Carnival de Venice,
with variations, or Farland’s beautiful interpretation
of the classics, which I had the pleasure of listening
to, in Louisville, recently.”
W. H. Teasdale, of Savannah, Ga., writing under
date of March 19th, states that he has had good
returns from his small ad. in the Journal. The
banjo, he says, is making great headway in the
South, where it had been half dead heretofore. He
also states that the Stewart is the favorite.”
The Doris Brothers, banjoists, of New York,
announce a concert at Chickering Hall, N. Y., on the
evening of April 30th. The following specialties are
announced for this concert, ard the advance sale of
seats is said to be excellent. Thomas E. Glynn, F.
Wilbur Hill, Edward C. Dobson, John H. Forman,
Polk and Kollins, George Holloway, and the Dords
banjoists. An orchestra of one hundred banjo and
guitar players. The Rutgers’ College Glee Club,
Archie Gunn, Wm. Josh Daly, humorist; Signor L.
Ricca, mandolin soloist ; Alex. Bachman, violinist ;
the Misses Ricca, Little Irene, the child- wonder. .
George Carr, the Scranton, Pa., teacher, was
joined in wedlock, on March 23d, to Miss Lillian C.
A. Hammett, one of the finest pianists of this State.
We wish the happy couple every happiness and
prosperity.
L. D. Burford, 1103 Adams Street, Toledo, O.,
has published tl Scales, Chords and Exercises for the
banjo,” price 75 cents, It is a good work.
The Princeton University Banjo, Mandolin and
Glee Clubs, played in Philadelphia, at the Academy of
Music, March 27th, last. A really fine combination.
Music in this Number.
Flaxy Cunningham’s “ Cake-walk” is pub-
lished complete for mandolin and guitar, and
is one of the clever composer’s best efforts.
The arrangement of “ Ben Bolt ” for guitar
is good, and to almost any guitarist will be
well worth the cost of the Journal. “ A Cre-
ole’s Dream,” for banjo, by Stuber, will be
found a clever thing, and the Galop, “Bo-
hemians,” by Heller, is given complete, so
far as the principal part is concerned. This
part, if played with club, must be rendered
on the banjeaurine, in order to fit the piano
part and the other parts that belong to it ;
and the same may be said of the “ Imperial
Mazourka ” and i( Heroic March.” These
pieces are all A No. 1 banjo club composi-
tions, and are played by our very foremost
Philadelphia Clubs. They may also be used
as banjeaurine solos, with piano accompani-
ment, with brilliant success.
Paul Eno continues his “ Mandolin In-
structor,” and Walter Jacobs his “ Guitar
Fingering,” much interest having been
manifested in these works.
BANJO
DORE BROTHERS
Teachers, - Performers, - Publishers
NEW YORK, 666 Sixth Avenue
BROOKLYN, 8i Flatbush Ave.
For Banjo Teachers
When a young teacher enters the field, he
should get out a neat card, and make his in-
strument prominent thereon. We will furnish
either of the following cuts (Banjo or Ban-
jeaurine) by mail, on receipt of Fifty cents.
S. S. STEWART
221-223 Church Street, Philadelphia
Just what you want
in your Banjo
or Mandolin Club
The Greatest Music Stand Ever Produced
Light-weight, Handsome Appearance, Condensed
Space, Pneumatic Action, no screws; Newest Style
Telescopic Action. Can be adjusted and folded up
in fifteen seconds. Nickel-plated; best workman-
ship and warranted durability.
Sent by Mail, post-paid, on receipt of
$2.50
This is a handsome stand, and a splendid thing
for Banjo Teachers to have. All Clubs should have
these music-stands; can be carried about so readily,
and so easily adjusted. There is no stand in the
market to compare with this.
Address, S. S. STEWART,
No. 223 Church Street, Philadelphia, Penn’a.
The Finest Work on the Banjo Yet Produced
P facilcai Finping nr m Ban jo
The Modern Scientific System of Fingering, intended
for the use of teachers and advanced pupils
By GEORGE W. GREGORY
PRICE, SIXTY CENTS
Published by S. S. Stewart, Philadelphia, Pa.
Copies mailed on receipt of price
28
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
A correspondent desires to l<now if he can use the
banjeaurine to play the pait allotted to “ first
banjo,” in the banjo club airangement.
To this we reply certainly not. As the banjeaurine
is tuned and sounds a fourth higher than the ordinary
“ first banjo,” what a fine, discordant jumble such a
proceeding would cause may be well imagined.
Might as well ask if one may sing a duet in two
separate keys, or in two different musical pitches and
expect the voices to harmonize.
Pages 44 and 45 of our last catalogue go into this
subject so fully that little is left to be said on
the subject.
B. I. — “ Can you tell me what will check excessive
perspiration of the hands ?”
It is necessary in such cases to know what is the
cause of the excessive perspiration, as there may be a
variety of causes for such an effect, and what may be
“ one man s meat, another man’s poison.” We should
advise you to consult a competent physician in such
cases.
Roy W. Purchard, Hyattsville , Md. writes: —
“ No. 98 is just received, and is fully up to your high
standard. The music is worth a year’s subscription,
if not several, and I wonder that anyone who is at
all interested in the banjo should fail to have the
Journal. I enclose 60 cents for a copy of “ Greg-
ory’s Practical Fingering ,” as soon as it is issued.
I have followed the work through the different
numbers of the Journal , and find it an invaluable
aid to teaching and self instruction.
Speaking of Farland's method of trying strings to
get a true one, I find this difficulty : When I have
put on a string and tightened it, and I find it false, if
I cut off a section and try again, the portion that was
wrapped on the peg is a little frayed and worn.
When the string is cut off, this portion comes some-
where between the bridge and nut, and the string
does not vibrate as well, Even a kink in a new
string will hurt the tone ; at least, I have found it so.
Owing to this, I try a string once or twice both
ways, and if it is not true, I throw it away. As you
say, strings are cheap now, and one can offord to do
this. Among the many bad things that can be done
with a banjo, I know of nothing that is so heart-
rending as to hear anyone trying to play with false
strings, unless it be the frets that are out of whack.
Do you publish any other work on harmony for the
banjo? If so let me know the prices.’*
A most excellent smaller work on Chords and
Harmony for the Banjo is part 3, of Lee's
Rclectic School , price 50 cents.
A correspondent in St. Louis, Mo., writes : — “ I
have been trying for some time to get a copy of
Gregory’s “ L'Infata March” arranged for two
banjos, and the trouble I have had, together with the
fact that I know you are interested in the welfare of
all banjo players, led me to write this letter to you, in
the hope of your finding some way out of our present
dilemma.
I dare say you know or have heard how slow St.
Louis is in all musical work. Well, this applies with
tenfold force on all banjo work and performers.
You can get no first-class banjo music at any of our
stores; all they have is an assortment of jigs, clogs,
etc., and when you ask them if they have first-class
banjo music, they open their eyes in astonishment,
point to the jigs and say they thought that the highest
class of banjo music. Another thing which disgusts
a person almost beyond endurance is the quality of
the strings which we have to put up with. In half
the stores, when you ask for banjo strings, they give
you wire strings, and then wonder why wire strings
are not just as good as gut, and bridges are just as
bad. You can’t get a Stewart bridge anywhere in
town.
But when you want to buy a first- class banjo is
where you actually realize how slow and far behind
ihe times St. Louis dealers are. I am willing to bet
dollats to doughnuts that there are not more than five
Stewart (which I consider about the best) Binjos in
St. Louis music stores, and three of these A. L. Lud-
wig has. I believe Plact has a couple, but I don’t
know of any more, and all of these five are the
cheapest make of your instruments that they could
get.
And now, Mr. Stewart, that I have plainly laid the
case before you, what kind of relief can you give us ?
I think it would pay you to appoint some one as your
agent here, to handle your goods exclusively, for you
can have no idea how popular you are among St.
Louis banjo players, of whom there are quite a few, I
can assure you, and by whom I am delegated to write
this epistle to you.”
The music referred to, “ L’Infanta March,” by
Gregory, is published for banjo and piano, with a
part for second banjo, and the price of the three parts,
complete, is 70 cents. There should be no difficulty
experienced in getting this, or any other music we
publish, as it is not difficult to order small articles by
mail, and such orders are filled by return of mail.
When it is not convenient to enclose the money, the
amounts may be remitted in the form of U. S. postage
stamps. Strings, bridges, music, books, etc., aie dealt
in in this way, and when the dealers cannot see their
way clearly to carrying our music in stock, it need
not be a hindrance to players, as he is able to deal
directly with the publisher. The modern banjoist
should not create mountains from such molehills as
this, for all will go along smoothly without the assist-
ance of the unenterprising dealer.
“ No. 98 of your Journal was received a few days
ago, and I must say it is fully up to the times in every
respect. The letter of N. S. Lagatree, on banjo clubs,
and piano parts for banjeaurine, is an excellent one.
Will you please give his address in full, or where a
letter will reach him, in your next issue? Wishing
you all the success you so fully deserve, I am and
ever expect to be,
A Subscriber.”
The address of N. S. Lagatree is Saginaw, Mich.,
No, 433 Hanche‘ t Street.
A correspondent writes : — “ Do you furnish a set of
tools with your banjos ? ”
Each banjo is accompanied by a wrench, or key,
for tightening the head, and also, if the patent, non-
slipping keys are used, with a small screw driver for
the same. If these appliances may be termed “ a
set of tools,” then we may say that we furnish them.
Correspondents not familiar with modern “club
music ” should not make a mistake in ordering piano
parts intended for banjo club music, in attempting to
use these piano accompaniments for playing with the
ordinary banjo, which is tuned a fourth below the
banjeaurine in pitch. The piano parts, intended to go
with club arrangements, are adapted in pitch to the
tuning of the banjeaurine, which! plays the leading
parts in our banjo club music, and, of course, sounds
a fourth higher than the ordinary ** C ” banjo. When
the solo parts are played on a banjeaurine, the piano
part for club may be used for “ banjeaurine and
piano.”
The following letter is evidently a most interesting
curios'ty ; we give it just as it came in, omitting only
the name and address of the writer: —
“ S. S. S., Dear Sir : — I have wrote to you about a
16 page book of pointed and comic pictorial cartoons,
all bearing upon the subject of banjo playing. I have
sent twice for it, but you have send me a green book
with coming pictures in it. So please let me no
about it, if the green book is what you have sent to
me, or if it is a other. So write to me about. I have
counting the pages of the green book but it is only 8
and the other bokis a 16 page book. I rec’d the pic-
tures and the book on the 16 of Feb. but not
the thing I would like to have. So I will close my
letter with one cent stamp.”
The writer of the above is n t barren of ideas, he
shows some good points. It doth appear from what
he states, that he noticed in this Journal an ad.
offering our 16 page book of comic pictures; he re-
ceives this book, is disappointed because the paper
has a greenish tint; tries again, socks in another one
cent stamp, gets another pictorial pamphlet, and
is then ready to kick Stewart and himself at the same
time and in the same place.
Never mind ; let him not strain his suspender but-
tons, the earih is young yet, and all the churches
have not been turned into halls of learning, nor farms
into running tracks, and there is room for improve-
ment.
In .sending our worthy correspondent another “car-
toon,” we this time had the good fortune to send him
a yellow kid, in place of the green-eyed monster.
We have also numbered all of the 16 pages with red
ink, thus proving that each of the 8 pages possesses
its other end, or opposite side.
Although we invariably give, sell, or send, pre-
cisely what we represent in the advertisement, yet we
may not always meet the beau ideal of the person
who “ Closes with a one cent stamp,” and a change
of diet may sometimes be necessary to a clear under-
standing.
A worthy correspondent wishes to know why it is
that all music for banjo and piano is not printed in a
key so that the piano parts fit this instrument, or
rather, with the piano parts to suit the banjo in the D
pitch?
Now, at the present time, this matter cannot be
arranged to suit the requirements of all players.
We might just as well, to meet the requirements of the
users of banjeaurines,or the popular “ banjo-banjeau-
rine,” have all the music intended for “ banjo and
piano,” arranged with the piano parts to suit the
banjeaurine pitch, for there are just as many of the
latter instruments used as the moderately-small-sized
banjo, suitable for tuning in the D pitch.
On the other hand, there are many who dislike
the D pi'ch for their larger-size banjos, as strings
will not stand in damp, murky climates at this pitch,
and where so many of the pieces have the “ elevated
bass,” a lower pitch is not only advisable, but neces-
sary. It is no great trouble for a professional accom-
panist to transpose a piano part, a tone higher when
necessary, and it is far too expensive to publish the
parts in two or more different keys. The great number
of buyers of such music to-day, insist upon getting their
music at the very lowest possible price, and no pub-
lisher cares to assume the expense and risk of work-
ing only for glory in this line of work.
Instead of the general buyer being thanklul that
he is able to get the piano parts all, he is usually the
first to “kick” and find fault, because perfection
is not reached, with the expense all upon the should-
ers of the publisher.
Taking a piece with “ bass to B,” for instance, like
“ The Love and Beauty Waltzes,” even with ihe
10^ inch banjo, when you come to pitch in D, the
strain upon the bass string, upon being raised a tone
higher, is too great, and then will come the wail
about bass strings being no good, or that they will net
stand at pitch.
Again, since ^the “banjo club” with the leading
part rendered upon banjeaurines, has become so pop-
ular, many expei fenced performers look forward to
the time when the smaller instrument, the banjeau-
rine, will become the leader also for solo playing
with piano accompaniment, this would render the D
pitch in piano parts useless, and would require the
re-publishing of the same in a higher key.
Let some of our fault finders enter the business for
themselves, and see how pleasant a task they will
have on their hands in “pleasing everybody.” The
result will be that they will- wind up by pleasing
nobody.
The following extract is taken from the some-
what silly letter of a would-be smart Aleck. It
seems that he sent for some strings', never having
heard from him before, he gets in reply a business-
like notice, asking for remittance of the proper
amount.
Here is his reply : — “ I received your catalogue
and Journal, and I read the Journal through care-
fully. I am sure it is a great pity that you have so
8. S. STEWART’S BANJO AND GUITAR JOURNAL.
29
much business on hand that you cannot waste your
time on such orders as mine.”
(This sounds more like the language of a woman,
with ut business experience, than coming from a
man ; but no one can tell from the letter )
“ I also read in your _ Journal that correspondents
would please enclose remittances for small orders.
I have always been in the habit of receiving my
goods before I pay for them, as I find that some
dealers are not always willing to do the square thing,
once they get their hands on a little change. I am
sure lam glad for you that you have so much bize
that it doesn’t pay to bother with such small ones.
However, there are other places worthy of patron-
age, etc., etc.”
When a party sits down to write such a letter as
the foregoing, he, she or it concocts an extremely un-
wise action.
Our rules for doing business are plainly printed in
our illustrated catalogue and in the Journal , the cor-
respondent speaks of.
A little reflection should convince the writer that a
business concern like this, doing a mail business with
all parts of the country, and which has been in the
same line for a score of years, could not car*y on a
robber business, such as he, she or it complains of,
without being speedily brought to time.
So our disgruntled corre pondent need not get the
fidgets over such matters, as there is little, if any,
chance of our keeping his or her 50 or 75 cents, and
giving nothing in return for it, nor is there any dan-
ger whatever of our being induced to fi 1 such orders
without receiving remittance with the same.
Our standing and manner of doing business can
eadly be ascertained from the “mercantile agencies,”
and hence, “ enough said.”
T. L. Snyder, of the Twin City Mandolin Club,
St Paul, Mum., wants some more music like Love
and Beauty Waltzes , for banjo club. We do not
blame him. “ Love and Beauty ” is a gem, and there
are few others as good. Such pieces are not to be had
f r the asking, and are the outgrowth of pure musical
inspiration. The mannner in which this, and other
compositions by Armstrong have been pirated in
England among the snyde banjo clubs, should, in
in itself, prove the merit of the works of this com-
poser. His “Queen of the Sea” Waltz is about
equal to it without there being a sameness.
*' A Banjo Student ” writes : — “ Is there any rule
for determining the position on the head of a banjo for
the bridge ? I do not mean as to the frets, of course,
for I am aware that the twelfth fret should be half
way between the nut and the bridge ; but is there any
rule for getting at the proper place for the bridge to
stand before the fretting has been planned for ? ”
Regarding *this question, it has been discussed and
appears in the appendix to the American Banjo
School , entitled “ Observations on the Banjo and
Banjo Playing .”
F. B. Converse, one of the most intelligent of the
early writers on the banjo, gave it as a rule, that the
bridge should occupy a position from the extreme,
equal to one-third the diameter of the head. This,
however, seems to have no basis as an arbitrary rule,
and has never been ad ipted as such.
Banjo makers depend upon the ear to determine
the position, and we have found that in banjos for
stroke or thimble playing, that about one quarter the
diameter of the head, was more likely to be the safe
rule, than one third the diameter of the same. In fact,
a longer and less tense string is more favorable to the
old-fashioned form of stroke manipulation, but for
modern “picking,” or guitar style, the bridge may be
set rather nearer to the fingerboard, being careful to
guard against extremes.
The taste and hearing of the maker and player has
a good bit to do with determining the position of the
bridge, though, of course, its position cannot be
changed after the instrument has once been fretted.
In our modern “ Special Thorougkbred and “Twen-
tieth Century ” Banjos, the dimensions have been
taken with a view to having 22 frets talen by
the fingerboard, and the position of the bridge made
to conform thereto, the dimensions of the rim and
neck, of course, being consulted in the manufacture
of the instrument, to allow for this result. Now,
if we should take a banjo with 12 inch rim, and
attempt to place the bridge so that the 22nd fret
might be got upon the fingerboard, we would at once
find out that the position of the bridge came so near
to the center of the head, that the tone was greatly
impaired, and the large rim of le. s practical use than
a smaller one. Experience has, therefore, demon-
strated the fact that a rim 10 or 10^ inches in diameter
was a better proportion with a 19 inch neck, for a 2 z
fret, or three octave banjo; another popular size
being ii inch rim, with 19^ inch neck.
It is needless, perhaps, to say that many banjos of
precisely the same size and dimensions may be con-
structed, and yet be entirely unlike in quality of tone.
In the construction of a banjo, there are not alone the
strings, head and fretting to be considered, but also
the metal , its quality, thickness and temper ; the wood,
etc. ; in fact, there is vastly more to be learned about
banjo manufacture than a novice for a moment would
suppose possible. “ Live and learn” is a good maxim.
The publisher of the Journal cannot undertake to
insert a puffs ” and notices of music, sent by publish-
ers, who do not insert advertisements of the same.
Not only is the printing and postage on the Journal
an item of considerable expense, but we have not got
space to spare to insert one tenth part of the free
notices desired.
Question by P. S. T. : — “ What do you think of a
five-footed bridge for a banjo ? ”
We are not inclined to waste much time in think-
ing over it. A long experience has proven that the
more feet the bridge has to rest upon on the elastic
calf-skin head, the less “ grip” it will have, and the
more readily it will slip. So far as we can see, the
vibrations are no better than with but two feet, and
yet the “ five footer” costs more to construct, and the
banjo player, must pay more money for such a bridge.
Perhaps with the “zither jo” and wire strings , the
five-foot bridge may come into play, as a strong and
light bridge would naturally be required. It may be,
that one of these days, a five-foot bridge, with a reed
in each of the feet will be invented, thus comb ning a
reed organ with a stringed instrument.
The five foot bridge, as it is, must have a “ go,”
for it is a certain novelty.
Aspiring Publisher: — Those who are kind enough
to mail us copies of their musical compositions, re-
questing notice, would say that it is impossible to
grant their request, unless the music is advertised
herein, and our lowest advertising rates are $[.50
per inch, each insertion. The Journal costs far more
to print and circulate than is returned from subscrip-
tions, and publishers who suppose that we should
carry on a publication, and spend years of time in
building up a circulation for the same, spending
money, and devoting much hard work, for over eigh-
teen years to the object, and then give the advertising
space for nothing, seem to be possessed of somewhat
vague ideas regarding such makers.
We have had several years experience in advertising
in famous publications, and, we long ago, found out,
that nothing was to be obtained in this line free of
charge.
Advertising in other papers that cannot possibly
reach one tenth the number of banjo, mandolin or
guitar players that the Journal reaches, costs anywhere
from 25 cents to $1.00 per line; and so far as music
publishing is concerned, it may safely be assumed
that for every dollar expended in the cost of publishing
a piece of music, it is going to cost $10.00 for adver-
tising. Publications that are not advertised simply
dry up.
Student. “ I have been playing the piano for
some time, and have lately taken up the banjo. Will
you explain why it is that I cannot get any strings up
to pitch? Every time I try to tune the first string to
“ B ” with the piano, the string breaks before I get it
a y where near the desired pitch.”
Answer . The mistake our correspondent makes is
in attempting to tune the banjo swings to a pitch
corresponding with the musical notation for the
instrument. Both the banjo and the guitar, practically
sound an octave lower than the notation indicates.
The banjo is usually tuned to “ C,” that is, the note
“A,” as per notation, is tuned to the pitch of “ C,”
with piano. This is fully explained on page 48, of
the book called “ The BanjoP and again in the
Appendix of the “ American Banjo School,” where
much care has been taken to make the subject entirely
clear to the reader. A copy of each of these books
will be forwarded to any address by mail, upon
receipt of $1.50. We will also furnish a “Banjo
Tuner,” giving the five notes for tuning the strings
of the banjo — a splendid thing for beginners — for
50 cents.
Some time ago we had something to say concern-
ing the prevailing ignorance in the music trade on
the subject of banjos, and the comparatively little
that is known concerning it, by many of the would-
be teachers and “ professionals.” The following
extract, from a letter recently received, is a case in
point. The writer of the following is neither a
“ professional ” nor a “ music dealer,” yet, it comes
from one who assumes to instruct a few pupils. The
matter in question is a banjo sent to us for repairs —
that is, to have a new head put on— and the work
being in a hurry, sufficient time could not be allowed
for the stretching of the head, hence the remarks
about the strings being “ too close to the rim,
stops all the sound,” head “ lowered below the rim,”
“ head a good one, but put on wrong,” etc., etc.
(HERE IS THE LETTER:)
“My banjo arrived to-day, but I am sorry to say
that it is not all right. When I sent you the instru-
ment the head was even with the rim, but when the
new head was put on, it was lowered below the rim,
and also the neck was lowered, which puts the
strings too close to the rim, and any string played on
below the eighth fret touches the rim and this stops
all the sound of the string.
“If you will take the instrument and strike the 9th
or 10th barre you will see what I mean.
“ I have shipped the instrument to you to-day and
would like to have the fault remedied.
“I do not suppose there will be any charges, but if
there are any let me know.
“ I found the peg all right and the head to be a very
good one, but put on wrong, I think.”
One is inclined to wonder when banjoists will
begin to wake up and learn a little about the instru-
ments they play. There was a time when the “ sim-
ple method ” teachers did all in their power to ketp
their pupils in ignorance concerning the instrumen ,
so that a dbllar or so extra could be gotten by extra
repairs, etc., but this was not calculated to advance
the banjo any, and since the advent of this Journal
we have had a different state of affairs.
*******
What seems to be wanted now is a more highly
advanced banjo school, where pupils can not only
receive the proper individual attention, but where
lectures will be delivered, say, once per week, and
classes in this way instructed in what pertains to the
instrument.
A school of this kind would make the first step in
advance of the times. Who will be the one to take
the initiative ?
Piano Parts for Banjo Club Music.
(Published by S. S. Stewart.)
These piano accompaniments are published in keys
to suit the pitch of the banjeaurine, and may be used
to accompany the solo part on that instrument, or for
the banjo club arrangement.
Amphjon March, Stewart $ .25
Dreams of Darkie Land, Heller 25
Love and Beauty Waltzes, Armstrong 40
Forttjna Waltz, Armstrong 25
Rosed ale Waltz. Folwell 25
Arion March, Folwell ? 25
Normandie March, Armstrong 25
Heroic March, Armstrong 25
Imperial Mazourka, Armstrong 25
Galop, The Bohemians, Heller 25
30
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
Frank Meyer, Wheeling, W. Va., writing, under
date of January — , says : — “ The writer’s attention
has been called to a new Simplified Method for guitar,
published by one H. S. Stewart. Despite the claim
that the proper rhythm and expression is indicated,
I find that it is merely an expression, by one line, of
the old simplified banjo method, which the Journal
has done so much towards killing.
“The publishers are making a strong appeal to
favor, and I have no doubt, will do considerable
toward elevating the instrument on the downard jour-
ney, especially among that class of plunkers whose
ideal guitarist is a negro armed with a steel-strung
jangle-trap, tuned more or less Spanish, and which he
manipulates with the second finger of his left hand,
and a mandolin pick. I have three reasons for writing
this : First, I am disgusted ; Second, I love the guitar ;
Third, I despise fakirs.”
C. H. Henken, Brooklyn, N. Y., writes, that the
$i 5.00 Stewart Mandolin he purchased “ is a beauty ,
and the tone is superb.”
Will E. COLLOM, Great Falls, Mont., writes : — “I
have played several mandolins, but for one priced up
to $40.00, I give your $15.00 one a rating far above
any other, for accuracy of tone and finish.”
Geoege Bauer, of 1016 Chestnut Street, Philadel-
phia, Pa., has several competent mandolin and guitar
makers working for him, and is turning out some fine
instruments. His trade seems to be on the increase,
and we are glad to see it.
E. H. Frey, the popular orchestra conductor and
composer, of Lima, O., writes : — •“ I have received
several letters from parties, in regard to arranging
piano parts. I cannot do any writing at present,
however, as I am kept busy with orchestra work and
teaching. This is the busiest season I’ve yet had in
Lima. We play every night, except Sunday. I
thank you for referring to me, and may be able to do
more of this work later on.
Arling Shaeffer, the guitarist, has a very large
following in Chicago, where he is busy with guitar
and mandolin pupils, day and evening.
Paul Eno, T. J. Armstrong, Miss Emily Hastings
and other teachers, in Philadelphia, have a goodly
number of mandolin pupils, besides the banjo pupils
they at all times teach.
As mandolins have been made for 200 years, or so,
in Italy, we don’t want to set up our young Ameri-
can instrument, the banjo, to ride over the head of
the old lady of 200 years’ experience. But “ blood
will tell,” and the young American instrument is
gaining on the old lady very rapidly.
Hurrah ! for young America.
The Journal will soon contain a new mandolin
and guitar composition by Signor G. Podenzana,
now in Australia.
Mr. Paul Eno h^s recently published the “ Slippery
Quaker” Patrol (mandolin club); address him, 1016
Chestnut Street, Philadelphia.
Walter Jacobs, the Boston teacher and writer, is
making an international reputation for his guitar
studies.
The Journal is destined to make more of a specialty
of mandolin club music hereafter, in connection with
banjo club music.
It is proposed to publish music for first and second
mandolinSy mandola, guitar and piano. The first
mandolin part, only, will appear in the Journal , and
those who are interested can purchase either the
piano part, or any of the other parts, after trying it
in the Journal. The mandola parts spoken of will
be written for the large size mandola, tuned an
octave below the mandolin, as it is believed that this
is the coming instrument among mandolin clubs.
THEODOR LOHR
298 GRAND STREET, NEW YORK CITY
Importer of Musical Instruments. The largest variety
of Zithers, Zither Strings and Zither Music in America
4^" Send for circularise
FLIGHT OF THE FAIRIES
BANJO DUETT
By John W. Grant Forty Gents
An artistic selection specially adapted for
the banjo. Full of sweet harmony and pretty
accidental chords. Every soloist should
have a copy. Send 25 cents mentioning the
Journal , and receive a copy by mail, post-
paid. Address
John W. Grant, Box 90, New Glasgow, Nova Scotia
Musical Instrument Manufacturers
DIMENSION STOCK
FINE SPRUCE FOR GUITARS
VIOLINS AND MANDOLINS
Rosewood, Mahogany, Bird’s Eye Maple, Walnut, Birch and all
kinds of Fine Lumber always on hand
Send for price-list to
JOSEF SCHEINA
115 to 121 East 13th Street, New York
“ Love and Beauty ” Waltzes
by T. J. Armstrong.
This is a great favorite.
For banjo and piano (piano in G) $ .75
“ banjo alone 40
“ banjeaurine and piano 75
“ banjo club, seven parts I 50
banjo club, with piano accompainment 1.85
“ banjeuarine, banjo, and piano 95
“ guitar solo, arranged by Walter Jacobs 50
N. B. — The piano part in C goes with the arrange-
ment for CLUB, where the banjeaurine plays leading
part ; if the parts are desired to be used for “banjo
and piano” without banjeaurine, the piano part in G
must be used. There are two separate and distinct
piano parts, one in G, for banjo, the other in C, for
banjeaurine or club.
S. S. Stewart, Publisher.
CHANGES IN THE
COPYRIGHT LAWS
Make it important that Authors and Pub-
lishers of Music have the benefit of expert
services in securing valid copyrights.
No matter how you have done before ; no
matter whom you have heretofore employed, we
suggest that you write to us for particulars that
have more than an ordinary interest to every
owner of a musical copyright.
Associated Trade and Industrial Press
610 13th St , N. W., Washington, D. C.
To Mandolin Clubs, 10 cts. each
Ye Boston Tea Party, March and Two Step, by
Arthur W. Pryor, of Sousa’s Band
Country Club Waltzes, by Arthur W. Pryor
Kalsominer’s Jubilee, by K. O. Wheeler
All for two mandolins and guitar
IMPORTANT, — Only those sending programme, card
or letter-head, can receive these pieces at this price.
BROKAW MUSIC PUB. CO., St. Joseph, Mo.
SOMETHING NEW.
lEIiteBaipTail Pieces
I Pat. Sept. 17, 1895.)
Its superiority seen at a
glance. Are used by the
leading artists of the world
Price with attachments,
50 cents. Usual discount to teachers and the trade. Send for
circular to C. S.DeLANO, 638 Hill, Los Angeles, Cal., Manufr
Teacher's Sample, 35 cents.
GUITAR or
MANDOLIN
Arling Shaeffer
INSTRUCTORS
Elite
Insist upon seeing tlie above Instructors be-
fore studying. Your success depends upon start-
ing. All "scales, Diagramed. A Self Instructor ot
great merit, for Pupil and Artis*. First Edition
Just out. A boon to Guitar and Mandolin players.
Guitar Instructor, 13*7 Pages in Board, $3.00
Mandolin “ SO “ “ “ 1.00
Sendfor Thematic Catalogue of Guitar and Man-
dolin music. Address
LYON & HEALY, Chicago,
or OLIVER DITSON CO., Boston — Philadelphia*
THE IMPROVED UNIVERSAL KEY FOR BANJO
(Patented by Richard Kuenstler)
PRICE PER SET OF 5 , $ 1.25
These Keys work smoothly and do not slip.
THE ACME BANJO TAIL-PIECE
This Tail piece does not rest on the head, or cut strings.
PRICE, 25 CENTS
Address S. S. STEWART, 221-223 Church St., Phila., Pa.
Send for the Latest.
The Mandolin Girl “ Two Step,” two mandolins
and guitar, 40c. A great number. Every player
should have it.
“ March of the Southern Imperials,” banjo and
guitar, 30c. Full of vim, and already a great favor-
ite with banjoists.
“ Thoughts Of Home,” Waltz, 35c., two mandolins
and guitar. A pretty waltz, melody very catchy, and
sure to please. Usual discount to teachers.
W. H. TEASDALE, Teacher, Composer, Publisher
216 Gaston St., West, Savannah, Ga.
31
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
Subscription Blank
m ^ ^ ^ ^ ^ m ^ m ^ mm mm ^ ^ m
Jo S. S. Stewart, JVo. 223 Church Street, Philadelphia, fenna.
I enclose Fifty Cents for one year’s subscription to
S. S. Stewart's Banjo and Guitar Journal
beginning with No. the issue of
Name
No
Town County State
As premium, you may send me [name one of the following only]
The Banjo and Guitar Music Album
The Guitarist’s Delight
Chart of the Banjo Fingerboard
The Banjo and Guitar Budget
Book, The Banjo
Kudimental Lessons for the Banjo
SEND FOR NEW CATALOGUE JUST OUT
Fine Strings, Mandolin Picks
Fine Felt Bags
Leather and Canvas Cases
for all instruments
Repairing a Specialty
The George
Bauer Mandolin..
also the.
George Bauer
Guitar
THE BEST MADE
Address all communications to
George Bauer, 1016 Chestnut Street, Philadelphia
32
S. S. STEWART’S BANJO AND GUITAR JOURNAL.
S. S. STEWART’S FINE LEATHER CASES FOR BANJOS.
Made of a good quality of thick leather, Maroon Color, hand sewed, and lined with flannel. Three sets
of straps and substantial handle, as shown in illustration.
These Cases are carried in stock for Banjos of the following sizes: 7, 8, Q, 10, 10^, II, 11^, 12 and 13-
inch rims. The 7, 8 and 9-inch are $5.00 each, and the larger sizes $6.00 each.
Price, . . .
$ 6.00
These Cases should not be confounded with the more inferior Cases, made of much lighter leather and stif-
fened with paste- board. The Stewart Cases are far more lasting and durable. They are stamped “Made for
S. S. Stewart.”
Cases like this for Bass Banjo, with 16 inch rim, price
$ 8.00
PRESENTATION CASE.’
This style Case is made to order for presentation purposes. It is handsomely embossed, is lined with plush, has
leather- covered buckles and shoulder strap. This style may be ordered of either Maroon, Russet, or
Orange leather, and for Banjos of any size up to 13-inch rim.
Price, . .
$ 12.00
BANJEAURINE CASES.
| Cases similar to the $6.00 Banjo Cases, of Maroon Leather, for the
Stewart “ Imperial Banjeaurine,” “Solo Banjeaurine,”
or “ Banjo Banjeaurine,” are carried in stock.
Price, $600
CANVAS CASES.
These Cases are made of Can-
vas Duck, and are very strong and
durable. An instrument in one of
these Cases may receive a hard knock
or fall, and remain free from injury.
The material is almost waterproof, and may be varnished to render it entirely so, if desired. These are
thoroughly well made, have three sets of straps and good handles, hand-sewed.
Price, for Banjo or Banjeaurine $3.00
Price, for Bass Banjo 4.00
These Cases are not to be confounded with the flimsy so-called Canvas Cases sold by many dealers, which last
only a short time, and will not withstand wear and tear,
CHEAPER CANVAS CASES.
To accommodate customers who desire a lower-priced article, the cheaper grade Case, represented in above
engraving, is carried in stock for Banjos of n-inch rim only. Price, ... $2.00
Cloth Bags for Banjo,
Price $1.00
Cloth Bags, Canvas and Leather Cases for Mandolins and Guitars, at moderate prices,
S. S. STEWART, Philadelphia, Pa
BANJO CLUBS
H BIIJR PMITIOIS
University Cadets March
By F. M. PLANQUE
For Banjo 20 For Piano 20
Second Banjo ... .20 Banjo and Piano, 60
Leap Year Clog . . )
Alameda Schottische /
Banjo, Graeber.
.10
Garden City Reel, Banjo, Fish,
.10 i
‘‘Get There” Reel, Banjo, Fish. .10
Waltz, “Happ}^ Hours,” Banjo, Fish 10
Jeannette Mazourka, Banjo, Fish 25
Silver Shoe Clog, Banjo, Fish 25
The Ideal Two-Step, Banjo, Fish 25
Imperial March, Banjo, Fish .. .25
Dance, Fantastique, Banjo, Dahl 25
Merry-Go-Round Polka, 2 Banjos, Frey 25
Essie Schottische, 2 Banjos, Heller 25
Lillian Schottische, 2 Banjos, Marks 35
The Lark (Song & Dance), B. & G., Folwell, .25
Kuiawiak (Polish National Dance), B. & G.,
arranged by Corbett 25
Brownies Dance, B. & G., Frey 25
La Premier March, B. & P. , Eno 50
Morning-Side Caprice, B. & P., VesS L.
Ossman, Banjo .25
Banjo and Piano 1 40
Valse De Concert, B. & P., Eno..... 75
Darkey’s Wedding, B. & P., Eno .50
Bicycle Galop, Fish 25
Mabel Waltz, Frey .25
Violet Mazourka, B. & G-, Fish 25
Elmwood Schottische, 2 Banjos, Smith 25
Selections from La Perrichole, arr. Gregory .10
The Charger March, Newton . 25
The Pyramid Waltz, B. & G., Frey.... 35
'‘Andante,” Stewart 10
Gymnasium Exhibition March, B. & G.,
Frey .25
Waltz “Springtime Greeting,” Fish 25
JAandolin and Guitar
** Driving Club ” Waltz, by E. H. Frey
For Mandolin $ .35
For Mandolin and Guitar 65
Guitar part, separate 30
For Mandolin and Piano . 70
Piano part, separate 35
This selection can be used either for Man-
dolin and Guitar or Mandolin and Piano, or
as a trio for the three instruments, as desired.
It is very fine.
Overture, 44 Fairy Dell,” by E. H. Frey
For two Mandolins, Guitar and Piano, 1.40
For one Mandolin and Guitar 65
ForTst and 2d Mandolin and Guitar.. .95
For Mandolin and Piano 85
Either part may be purchased separately if desired
1st Mandolin 35
2d Mandolin .30
Guitar.... 30
Piano 50
Sleigh Ride Schottische, M. & G., Frey... .25
Spanish Waltz, M. &G., Frey .25
My Little Blue-Eyed Nellie (S. & D.), M.
& G., Frey 25
Dance in May, two M’s & G., Eno 35
Ting Tang (Chinese) Dance, two M’s & G.,
Eno 35
Transient Beauty Waltz, M. & G., Frey... .35
Love’s Old Sweet Song, M. & G., arr. Abt .40
“ How Can I Leave Thee,” M. & G., arr.
Frey 25
Memories Of Childhood (Reverie) M. & G.
Trey 25
Reverie, M., Shibley... 10
GUITAR MUSIC
Aurania Waltz, Guitar, Newton 25
Varie Waltz, Guitar, Frey 25
Village Bell Walz, Guitar, Frey 25
Lillian Polka, Guitar, Frey. 25
Funeral March, Guitar, Frey . 25
Gipsy Dance, Guitar, Frey 25
Mexican Dance, Guitar, Frey 25
Magnolia Schottische, Guitar, Frey 25
Patrol of the Nymphs, Guitar, Frey 25
My Partner Waltz, Guitar, Frey 25
“A Moment With You” Waltz, Guitar,
Schaeffer 10
Enterprise Waltz, Guitar, Lynch 25
Trilby Dance, Frey 10
Maranta Polka, Armstrong. 10
South Mexican Dance, Prey 25
The New Woman, Two-Step, Frey 25
Marie Mazurka, Guitar, Frey 'i
Caprice, Mandolin.. Smith 1 2 °
OVERTURE, 44 THE GRENADIER”
BY THOMAS J. ARMSTRONG
Complete in seven parts, as follows :
Banjeaurine, (leading part), first and sec-
ond ordinary Banjo, Piccolo Banjo, Man-
dolin, Guitar and Bass Banjo.
Price, complete , 7 parts, $1,50
Solo, or leading part, separate, 35c.
This overture may be used with good effect as a
Duet for Banjeaurine and Guitar, 55 cts.,
or for Banjeaurine and 2d Banjo, 55 cts
An easy and pretty piece for young clubs.
FORTUNA WALTZ
BY THOMAS J. ARMSTRONG
Complete in seven parts.
Price, 50 cents
Solo part, 10 cents
Each separate part , IO cents
POLKA, 44 JACKSTRAWS”
BY PAUL ENO
Six parts, complete. “The first Banjo” part
may be used also for Piccolo Banjo.
Price , full parts, $1.20
Solo part, 25 cents , separate
MARCH, 4 COAT OP ARMS”
BY PAUL ENO
Complete for Club in seven parts
Price, $ 1.40
Solo part , separate , ‘45 cents
PLANTATION DANCE
BY PAUL ENO
Solo Part .20
Complete, 7 parts 1.40
OVERTURE, RAYMONDE
BY PAUL ENO
Price, $2,00
Solo Part,... 4c
Bass Banjo Part 20
Each other Part .30
44 AUTUMNAL FESTIVITIES ”
MARCH
By F. M. Planque
Solo Part, Banjeaurine 25
Bass Banjo 10
Each other Part 20
Complete, 7 parts 1.30
Rosed ale Waltz complete, 7 parts, $1.40
Arion March complete, 7 parts, 1.40
0 BY JOHN C. FOI.WELL
Drexel Institute March, Armstrong 1 . 40
Solo Part, 20 cts.
Dreams of Darkie Land, Heller 1,40
Solo Part, 20 cts.
NEW BANJO CLUB MUSIC
Efclop, “The Bofjeipqg”
BY
M. RUDY HELLER
1 Pans, Complete, fl| 411
Piano Part for Banjo Club or Banjeaurine,
..25c. extra...
S. S. STEWART, Publisher
PHILADELPHIA, PA.